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(Y/N)ERASE ALL TEXTDelete (S,W,P,F): ~} to exitDelete to TOPDelete to ENDSave>Error #BREAK Key AbortNo ErrorsLoad>Memory FullPrint to>Printing...} to quit ̭ to pauseInsert sheet, Ӡ٠Find:Not Found, Linked LoadExit to Change to:Load Config>S}ave Config>Click OnClick OffFast RepeatSlow RepeatD1:TEXTPRO.CNFCopy> to>^oad^elete^Eit ort }nock ormat ename opy iew ask ir-: to: diskInsert ModeReplace ModeUpper CaseLower CaseWord# }= Macro>Wrap OnWrap Off Used, Free, Cursor at Page , Line of Ascii CR'sLinefeedsAdd ESCapeScreen Width#Start C}olumn#New EOLGo to Drive# (1-0)SIO SoundSet Value:Dec. #, Saves #Write VerifyAtascii ModeCommand OffCommand On}Text ModeSet Tab #E:Exit to Run>:No Menu SortMake :No Such DeviceTimeoutDevice NAKSerial Bus ErrorBa}d Drive#Disk FullLockedLink ErrorBad NameNot EmptyNot FoundNot Linkedb{aa sb BJ}DbE V0 BDpEHI V NapQapNaQaor sbr sb b{ E sb} sbɂ@ | а b c8 c c,.20i-o838G}18aud/X}MH S; XL3bS池= ȩo {b,~[vw`汩 {b`ɢA` L̞md}`D1:TEXTPRO.FNTD1:TEXTPRO.MAC0(( i? ɛ2ȱ @ȱ Xoȱ ɛȱ > ȱ ɛ ..`} } 4c ~ iH}H}} 4d ~ bc bc bc bc bc bc bc udH h > ߔud}{`} 4%d ~ c > ߔ8G} 4Od ~ c8#ud c 4Dd ~㠲 ~ ~ud}Lc`}: to skipDec.# (2-16) Pages: #Define as:Press : to exit }o: to skipDec.# (2-16) Pages: #Define as:Press : to exit ?}Y Icon font splitter macroEnter filespec for the icon font to convert above (you may backspace over the ":" to chan}ge the drive number). DO NOT use an extender (".NLQ" will be appended) and be sure the file name has at most seven characters}, then press RETURN.This programme will convert the icon font to four separate fonts (the pieces) with file names "filename1}.NLQ", "filename2.NLQ", "filename3.NLQ" and "filename4.NLQ" where the icon font has file name "filename.NL?" (?=Q,2,3,4). The}se files will be stored on the same disk as the original fonts. BE SURE THERE IS ENOUGH ROOM!This macro will ONLY work on ic}on fonts created with PSTODD3B.BAS, which converts PS icons to characters in 52 point DD3 fonts ##Filespec to split}Y .}NLQB3gg  ~~~~1.NLQY ~~~~.NL2B3g  ~~~~2.NLQY ~~~~.NL3B3}g  ~~~~3.NLQY ~~~~.NL4B3g  ~~~~4.NLQYFont converted. Press the START key (o}r OPTION-#) to split another icon font.@?B3g  ~~~~4.NLQYFont converted. Press the START key (o,\XT009\XV00\S0\L!"#\S2\Fmadrid\\CNAME\S0\L\Fic2\!"#\S2\Fmadrid\\CADDRESS\S0\L\Fic3\!"#\S2\Fmadrid\\CCITY STATE\S0\L\Fic4\!}"#\S2\Fmadrid\\XV04Dear Sirs:This is an example of large PrintShop icons:\XV00\S0\W2\Fbig1\\C!"#\Fbig2\!"#\Fbig3\!"}#\Fbig4\!"#\Fmadrid\\XV04\W1A double sized icon!\RSincerely,tShop icons:\XV00\S0\W2\Fbig1\\C!"#\Fbig2\!"#\Fbig3\!"CB`Aa 0Aa 0 }`;;;;====>;;;;====>? }?X0 `@0 `@>0 `@@>0 `@@ } }gg  yB`@@@@@@@@}`?>}{߾~?>}{߾~????}X 0 0@@@` 0@@@` 0}}g yB`0 `@@0 `@@}`{{8||88||8}X 0  0 }}g yB }}}g F3`Aa 0Aa 0}`;;;;====>;;;;====>?}?X0 `@0 `@>0 `@@>0 `@@}} y3`@@@@@@@@ }`?>}{߾~?>}{߾~???? }X 0 0@@@` 0@@@` 0 } }  y3`0 `@@0 `@@$}`{{8||88||8$}X 0  0 $}$} $y3 (}(}(} (FB`0< 0<  ? ,}?`??,}??X <0 <0,},}?? ,yB`??0}`????<0}< ``F||80Pp ` `N 0`@J{; ``s!@``H}@` O !A @N|D@@@@@@@DDGC@`` H}@` N?@DDg3!?Dgg#  Np@@@@@ACFDHP`@`0` `H}N9FFFF91{{JJ{{1  N>~BA@B?8|~B@?@`` @` D  H} `` @``@F   pt8ddhpH @@ H @@H}N0pXBD|<`p0D|x0 0 `` T GHH@@ACF  @F H@ @ @H} @Y "r: @p80Pp0 @` R@H}Dz{3|3 R?0`@@@@@@`??`@@@`  ` H} @S@@@@`0?@@`?? ` `Q@@@`H}0p `Q@@@` S?0`@@@AAAa??H}`@@A` ` S@DD@ H} G@@ P@@``` @` S@@ @H}  Pp00 @` P@@0p `[`p8H} @p8 @`` @ T`p0 @@H}`08 `00 ` T?0`@@@@@@`0???`@@@@`??`  `` H} `P@BD|<D|x0 T?0`@@@@@@`0???`@@@@`??` H}$$dh( 0(((`ĄR@ED|8Hxx00 ` N0x\LCA`0xXH}C0 ` S`@@@@` U@@H}@@`  @` @Y@@`px`@@H}p @` @^@`p|^  P`@ 08>p0H}p0@ T@`ppX  P`@  0Pp0 `H}` S@@`px`@@ P`@@ p`0pАH}0p` `FJ`0 @ `0@ F  @ H} @@@ MO   `  RH}@@   ` `N   `  ` I} @R@D `  ` O   `  I}` @L?H@```?@P    nrRPPP \즢"""I} S@@ G/o/OoOK/o/I}OoO O@@ @p00@` G@@]I}  SI} O    ` `RI}   `" `R `  I}` "N  L     0 `` I}J?? R  ` @S  I }  p0 @` @_    I }p0 @p0 @` @` @S    0@Pp00I } @@` S   t8 @p @M     0pI }PА0 `` `B  t8 @p @M     0pH#3 @@@@@@@@@@ pPPPP\Ldd DX0 `Ďؐ0 `@Ȍ JpjJ RҢ2(M}Bx|x|xx BB$$$$BBTT88888TT <<||   M} @@ @@ 8|DD|8p$$DĈp@@ @D`@ $D @D|H$$$X ((HH @@ M}$8 8|Tp$(8  0` H||HXؤ$$$$X pPT|8@औp$$$(((M},,( $D@@@@D$HDDH((((((((  <DDD<< @@`@4 @ ||dT| d8 <|HM}H|<<||< |H$$$$$$X 8|DD@p Lx0x0 $$$$$$$$ M} 0xL0xȀ$$0    0(HD 0PH M} @@  @@@@ @@ @ @@  8|DD|8pp ``@ 8|DD|0M}pt d`D @dHȤ$$$$    M} DH(00(HDHP0 0PH  `  `  $$DD @@@@ hHHM}h @@ @@   8DDDDĸ8   0<TDDDDDD<< $M}$8 <$$$88DDDDDD(( $ 8$ <$$488TTTTTTT0 <|@ | 8$$!?>08IAAAI ~~ M} < !" ((DD00HH<< < <||@@@@||@@@@<< << <||@@@@@<< <$M}$<88DDDDDD88 ??$$$<DDDDD88 <$$$??88DDDDD << || @@@@ 00 tTTTTT\@@@DDD 8<<yy~|  DLLTTddDDM} p`8<<<<8xxxxxx $$$$DD((((DD 8<?>yy~|  DLLTTddDDLDAISY-DOT NLQ FONT  @@@@@@@@@@ pPPPP\Ldd DX0 Q}`Ďؐ0 `@Ȍ JpjJ RҢ2(Bx|x|xx BB$$$$BBTT88888TT <<||Q}   @@ @@ 8|DD|8p$$DĈp@@ @D`@ Q }$D @D|H$$$X ((HH @@ 䠠$8 8|Tp$(8  0`Q!} H||HXؤ$$$$X pPT|8@औp$$$(((,,(($DB0(HD((((((((BD$(DH(0Q"} @@`@4 @ 8|D@p0pttTTp <|HH|<<||< |H$$$$$$X 8|DD@pQ#} Lx0x0 $$$$$$$$ 0xL0xȀ$$0 Q$}    0(HD 0PH  @@  @@@@ @@ @ Q%}@@  8|DD|8pp ``@ 8|DD|0pt d`D @dQ&}HȤ$$$$     DH(0Q'}0(HDHP0 0PH  `  `  $$DD @@ @@  @@Q(}@@  @@@@    0<TDDDDDD<< $$8 <$$$88DDDDDD(( $ Q)} 8$ <$$488TTTTTTT0 <|@ | 8$$!?>08IAAAI ~~  < !Q*}" ((DD00HH<< < <||@@@@||@@@@<< << <||@@@@@<< <$$<88DDDDDD88 ??$$$<Q+}DDDDD88 <$$$??88DDDDD << || @@@@ 00 tTTTTT\@@@DDD 8<<yy~|  DLLTTddDDQ-}8<<<<8xxxxxx $$$$DD((((DD 8<?>yy~|  DLLTTddDDP\fplaind\\cFNTSPLIT.MACEin Macro f_r TextPro 4.54mit DAISY DOT 3 und PSTODD3B.BAS\l(F_r den ABBUC - leicht gek_rzt - _beU/}rsetzt von Alfons Kl_pfel. Die Rechte f_r die ]bersetzung liegen beim ABBUC und beim ]bersetzer. Dieser Text und das ProgrammU0} sind PD. Sie d_rfen kopiert und weitergegeben werden. Verkauft werden d_rfen sie nur vom ABBUC. Sommer 1992)Daisy Dot 3 isU1}t DAS Spitzen-Druck-Programm erh>ltlich f_r $25 von\cRoy Goldman2440 South JasmineDenver, CO 80222USA\lEs gibt eine PD-U2}Version von DD3, mit der es allerdings nicht m^glich ist, verschiedene Fonts in einer Zeile auszudrucken. Ohne das Original, U3}die registrierte Version ist dieses Programm "FNTSPLIT.MAC" nutzlos.Um es n_tzen zu k^nnen, braucht Ihr:1. Daisy Dot 32. U4}PSTODD3B.BAS3. Textpro 4.54 und4. Eine Disk mit PrintShop IconsDD3 erlaubt bekanntlich nicht den "VERBATIM"-Modus, die U5}Einbindung von Graphiken, wie DD2 dies tut. Der einzige Weg, Graphiken einzubauen, besteht darin, diese in einen DD3-Font zu U6}konvertieren und diesen Font bzw. Teile davon dann als "Text" auszudrucken. Das Programm PSTODD3B.BAS erm^glicht es, PS-IconsU7} in aufeinanderfolgende Dreiergruppen von Buchstaben bzw. Zeichen eines DD3-Gro@-Fonts umzuwandeln und sie so als "Text" auszU8}udrucken.In diesem Text geht es um die Beschreibung, wie man gr^@ere Icons erstellt, und wie man mehrere Textzeilen neben dU9}ieses Icon drucken kann. Um dies zu erreichen, mu@ man die fertigen Gro@-Fonts ein wenig manipulieren. Dies lie@e sich nat_rlU:}ich mit Hilfe eines eigenen Programms bewerkstelligen. Stattdessen aber habe ich ein Programm im TP (Textpro)-Macro-Format geU;}schrieben. Man k^nnte dies nat_rlich auch mit einem Programm in "C", Forth usw. Ich habe das TP-MAcro-Format gew>hlt.Zu dieU<}sem Text geh^ren eine Beispielseite (SAMPLE.TXT), die Fonts, die f_r den Ausdruck dieser Seite n^tig sind (IC.NLQ - IC.NL4, IU=}C1.NLQ - IC4.NLQ, BIG1.NLQ und BIG1.NL2 - BIG4.NLQ und BIG4.NL", MADRID.NLQ), das File README.FTS und das Macro FNTSPLIT.MAC.U>}Ladet DD3 (die registrierte Version!), den Font "IC1" und druckt "SAMPLE.TXT".DD3 kann Fonts bis zu einer H^he von 64 PunU?}kten drucken. Fonts, die kleiner als 17 Punkte hoch sind, werden als ein einziges NLQ-File behandelt. Gro@-Fonts werden als FU@}iles im erweiterten (Gro@-)Format behandelt. Diese bestehen aus bis zu vier Files: fontname.NLQ, fontname.NL2, fontname.NL3 uUA}nd fontname.NL4. (Falls der Font kleiner ist, werden nur zwei oder drei Files erstellt.) Ein derartiges komplettes Set ergibtUB} einen Font. Dies nennt DD3 einen "magnified Font". Ich m^chte es einen Gro@-Font nennen.Bevor es PSTODD3B.BAS gab, konnte UC}man einen solchen Gro@-Font nur erstellen, indem man einen vorhandenen DD3-Font mit Hilfe der Font-Utilities vergr^@erte. DasUD} Ergebnis war eine schlechtere Aufl^sung im Druckbild. Mit PSTODD3B.BAS erstellte Fonts sind nicht-vergr^@erte PS-Icons. Sie UE}haben daher eine wesentlich h^here Aufl^sung als ein vergr^@erter 16-Punkte-Font.Beim Ausdrucken eines solchen (PS-Icon) GrUF}o@-Fonts, aus mehreren Subfiles bestehend, arbeitet DD3 so, als ob jedes der Unter-Files ein eigener Font w>re. Es setzt so eUG}inen Buchstaben zusammen, indem es diesen als vier selbst>ndige Teile behandelt: es druckt erst den obersten, dann den zweiteUH}n und dritten Teil und schlie@lich den vierten, wobei der Zeilenabstand automatisch auf 0 gesetzt wird. DD3 "wei@", wo jeder UI}Buchstabe beginnt und (vertikal) endet, so da@ es nicht vorkommen kann, da@ ein Teil eines Gro@-Buchstabens (bzw. PS-Icons) aUJ}m Ende einer Seite, und der Rest auf der folgenden steht. Die typische Form eines ICON-Fonts, erstellt mit PSTODD3B.BAS, isUK}t wie folgt:\cfontname.NLQ\lDieses File beginnt mit einem "B" (wenn das erste Zeichen eines Fonts ein "B" ist, wei@ DD3, UL}da@ es sich um einen Gro@-Font handelt). Dies sind die Daten f_r die oberen 16 Punkte (da DD3 jede Zeile zweimal druckt, alsoUM} pro Punkt zwei Durchg>nge, sind dies die Daten f_r die ersten 32 Reihen - "rows" - des Ausdrucks; sie tragen die Nummern 0-3UN}1). Der Font endet mit den Bytes 103,103,32 (dezimal).Die erste Zahl, 103, gibt die H^he des endg_ltigen Fonts an: 103, d.hUO}. 104 Reihen (Punktereihen), da PS-Icons 52 Punkte hoch sind, die zweite Zahl, 103, ist die Underline-Position (UnterstreicheUP}n), und die dritte Zahl, 32, ist die Breite des Leerzeichens.\cfontname.NL? (? = 2 oder 3)\lDie Teil-Fonts *.NL2 und *.NUQ}L3 sehen >hnlich aus: ihr erstes Byte ist ein "B", die letzten drei Bytes aber hei@en 31,103,32. Das zweite und dritte Byte sUR}ind also dieselben, das erste aber gibt die H^he dieses Unter-Files an, so, als wenn es ein selbst>ndiger Font w>re. (Diese UUS}nter-Files drucken die n>chsten beiden 16-Punkte (32 Reihen.) Im ersten File wurde mit 103 die H^he des Gesamtfonts schon angUT}egeben; DD3 wei@ dadurch bereits, wieviele Unter-Files der Gesamtfont hat; dies ist bei den restlichen Files folglich nicht mUU}ehr n^tig.\cfontname.NL4\lDie ersten drei Teile des PS-Icon-Fonts drucken die oberen 48 Punkte (=96 Reihen) des PS-Icons.UV} Der vierte Teil-Font f_gt nur noch die letzten vier Punkte (= acht Reihen) hinzu. Daher hei@en dessen letzte drei Bytes 7,10UW}3,32 (Reihe 0-7)In einem "Normal"-Font sehen die Daten fast genauso aus, aber das erste Byte ist eine "3", die letzten dreiUX} Bytes geben H^he, Unterstreich-Position und Breite des Leerzeichens an.Dies bedeutet f_r uns: Wenn wir den *.NLQ-Font hernUY}ehmen und das erste Byte von ASC("B") in ASC("3") >ndern, sowie die letzten drei Bytes von 103,103,32 in 31,31,32, erhalten wUZ}ir einen Font mit denselben Druckdaten wie sie bisher auch vorhanden waren, aber DD3 betrachtet ihn als einen selbst>ndigen FU[}ont.Wenn wir dann die anschlie@enden Unter-Fonts *.NL2 und *.NL3 ebenso behandeln, aus dem "B" also eine "3" machen und dieU\} letzten drei Bytes von 31,103,32 in 31,31,32 >ndern, werden auch sie in Standard-Fonts verwandelt, welche die n>chsten beideU]}n 32er-Reihen drucken.Um die letzten vier Punkte unseres Zeichens drucken zu k^nnen, >ndern wir das *.NL4-File ebenfalls: "U^}B" zu "3" und die letzten drei Bytes von 7,103,32 in 7,7,32.Dies ist, was FNTSPLIT.MAC tut, wenn wir es als Macro in TP einU_}setzen. Ladet also erst TP und dann mit dem Befehl CTRL-V das Macro FNTSPLIT.MAC.Mit der HELP-Taste (bzw. OPTION-? auf eineU`}m 800) bekommt Ihr eine Beschreibung, was das Macro tut und startet es. Indem Ihr \fplain\OPTION-@\fplaind\ dr_ckt oder FNTSPUa}LIT.MAC in TEXTPRO.MAC umbenennt, k^nnt Ihr dasselbe erreichen. Durch Dr_cken von START bzw. OPTION-# wird das Macro gestarteUb}t, ohne da@ die Instruktionen ausgegeben werden (dies kann sinnvoll sein, wenn ihr an mehreren Fonts arbeitet).Um das MacroUc} zu ben_tzen, achtet auf die Aufforderung ("prompt") in der Kommandozeile, in der nach der Font-Filespec gefragt wird. Diese Ud}mu@ folgenderma@en angegeben werden (zuerst aber dr_ckt irgendeine Taste, um die Kommandozeile frei zu bekommen):1. \XHHSorgUe}t daf_r, da@ der zu bearbeitende Fontname weniger als 8 Zeichen lang ist.\XL0402. \XHHFalls Ihr einen anderen Drive als D1 bUf}enutzt, l^scht den Doppelpunkt mit der Backspace-Taste.\xl0403. \XHHGebt - ggf. Drive-Nummer ("2:") und - den Fontnamen einUg} ohne Extender und ohne den Punkt.\xl0404. \XHHDr_ckt RETURN\xl040Der Font IC.NL? (?=Q,2,3,4) wurde mit PSTODD3B.BAS f_r eUq}?BTP454C COMB FNTSPLITMACBSAMPLE TXTBIC NLQBIC NL2BIC NL3BIC NL4BIC1 NLQBIC2 NLQBIC3 NLQBIC4 NLQBBIG1 NLQBBIG1 NL2BBIG2 NLQBBIG2 NL2BBIG3 NLQBBIG3 NL2BBIG4 NLQB+MADRID NLQB PLAIND NLQBPLAIN NLQBd.FNTSPLITTXTBEFONTIER1 BRFONTIER2 in einziges Icon erstellt. Das Macro FNTSPLIT.MAC wurde gestartet, wobei die Disk mit dem Font IC.NL? sich in Drive 2 befand.Ur} Als Filespec (File-Spezifikation = Angabe des Files, das bearbeitet werden soll. A.K.) wurde nach dem L^schen des DoppelpunkUs}tes "2:IC" eingegeben (RETURN).Das Macro l>dt nun die aufeinanderfolgenden Teile des *.NL?-Gro@-Fonts in das TextprogrammUt} (TextPro), >ndert die Bytes (wie oben beschrieben), um die Unter-Files in selbst>ndige Standard-Fonts umzuwandeln, und speicUu}hert diese wieder ab. Die Fontnamen werden dabei ge>ndert aus: fontnam.NLQ wird fontnam1.NLQ, aus fontnam.NL2 wird fontnam2.NUv}LQ, aus fontnam.NL3 wird fontnam3.NLQ und aus fontnam.NL4 wird fontnam4.NLQ. Dies ist auch der Grund, warum der Fontname ("foUw}ntnam" !)vor dem Umwandeln kleiner als 8 Buchstaben sein mu@: es wird zus>tzlich eine Ziffer angeh>ngt.Achtung: Jeder dieseUx}r Fonts kann bis zu 10K gro@ werden (falls n>mlich der Font 30 Icons enth>lt), und die neuen Files werden auf dieselbe Disk aUy}bgespeichert, auf der sich schon der Original-Gro@-Font befindet. Mit 30 Icons belegt dieser m^glicherweise bereits _ber 300 Uz}Sektoren einer Single-Density-Disk. Hinzu kommt nun eine Kopie dieses Fonts (mit einigen wenigen [nderungen). Versichert EuchU{} also unbedingt vorher, da@ auf der Disk genug freier Platz ist.Aus der Dokumentation zu PSTODD3B.BAS wissen wir, da@ wir (U|}Buchstabenabstand auf 0) mit dem Gro@-Font IC.NLQ und dem "Text" !"# das Icon drucken k^nnen. Es gibt aber noch eine andereU}} M^glichkeit. Setzt Zeilen- und Buchstabenabstand auf Null (\\XV00 und \\s0), druckt mit dem Font IC1.NLQ den "Text" !"# , dU~}enselben darunter mit dem Font IC2.NLQ, darunter dto. mit IC3.NLQ und nochmal darunter mit IC4.NLQ.Dies ist f_r das Icon alU}lein nat_rlich nicht der ideale und einfachste Weg; denn man mu@ den Zeilenabstand selbst eingeben. Au@erdem mu@ man selbst dU}arauf achten, da@ kein Seitenende vorzeitig erreicht wird, damit das Icon nicht zerrissen wird. Die Sache hat aber zwei VorteU}ile.1. Vorteil:Mit DD3 kann man mehrere Fonts nebeneinander drucken, die alle so gedruckt werden, da@ der obere Rand des U}Fonts auf derselben H^he liegt (top-adjusted). Druckt man also ein Icon mit einem Icon-Gro@-Font, so kann man nur eine einzigU}e Zeile Text daneben drucken, auch wenn neben dem Icon viel mehr Platz frei ist, und man mehr Text daneben schreiben k^nnte/mU}^chte. Wenn wir den Gro@-Font gesplittet haben, stehen uns gleichzeitig vier Textzeilen zur Verf_gung (Achtung: die letzte isU}t nicht sehr hoch!). Benutzen wir nun einen Font, der ca. 14 Punkte hoch ist (28 Reihen, Reihe 0-27), so f>llt der ZeilenabstU}and 0 nicht auf, weil er sich ja auf den gr^@eren (Icon-)Font bezieht (16 Punkte). Es bleiben also 2 Punkte (4 Reihen) frei. U}Da jedesmal der Zeilenabstand "von Hand" auf Null gesetzt werden mu@, empfehle ich, sich ein kleines Textfile zu erstellen, dU}as sowohl die n^tigen Befehle, als auch den "Text" f_r ein Icon und ein paar Textzeilen enth>lt. L>dt man dies, beispielsweisU}e, um einen Briefkopf zu drucken, kommt man ohne gro@en Aufwand zu recht ansehnlichen Ergebnissen.\nBeispiel: U} \pl\\V00\\S0\\L\\FICONFONT1\\!"# \t\\S2\\FTEXTFONT\\Vorn. Name\\S0\\L\\FICONFONT2\\!"# \t\\S2\\FTEXTFONT\\U}Stra@e Nr.\\S0\\L\\FICONFON3T\\!"# \t\\S2\\FTEXTFONT\\PLZ Ort\\S0\\L\\FICONFONT4\\!"# \t\\S2\\FTEXTFONT\\noch was\\XV032U}. Vorteil:DD3 kann Icons oder Bilder bis zu einer H^chstgr^@e von 64 Punkten drucken. Man kann also Icons von 52 Punkten niU}cht mehr gr^@er drucken. Auch mit den Font-Utilities l>@t sich ein Icon-Font (weil er schon ein Gro@-Font ist) nicht mehr verU}gr^@ern. Wohl aber geht dies mit den hier neu geschaffenen Einzel-Fonts. Die Fonts BIG1.NL?, BIG2.NL?, BIG3.NL? und BIG4.NL? U}sind nichts anderes als Vergr^@erungen der IC?.NLQ-Fonts. Dieser Riesen-Font kann von DD3 nicht mehr automatisch gedruckt werU}den. Mit Hilfe der DD3-Formatierungsbefehle ist dies aber eine Kleinigkeit. Mit Breite \\w2 ausgedruckt hat das Icon auch dieU} richtigen Proportionen. Nat_rlich geht bei dieser Vergr^@erung auch eine Menge an Aufl^sung verloren!Eine Anmerkung zu TexU}tPro: Als ich dieses Macro schrieb, mu@te ich den Editor frei machen, wobei ich das letzte Filespec nicht verlieren wollte. DU}er Befehl SHIFT-CLEAR l^scht dieses gleich mit. Der Trick besteht darin, da@ man ans Ende des Textes geht und mit SELECT-CTRLU}-U (Von Anfang bis Cursorposition l^schen) den unerw_nschten Text l^scht, somit aber das Filespec beh>lt.Zusammenfassung:U}FNTSPLIT.MAC ist ein TP-Macro, da@ einen Icon-Font, der mit PSTODD3B.BAS erstellt ist, in vier separate Standard-Fonts umwandU}elt. Dies ist nicht der normalerweise _bliche und erw_nschte Weg, diese Fonts einzusetzen. Es erlaubt aber, Text neben ein IcU}on zu schreiben, beispielsweise um einen Briefkopf zu erstellen (bei einem Kopf k^nnen keine Probleme mit dem Zeilenvorschub U}und dem "Zerrei@en" von Icons auftreten.) Au@erdem lassen sich diese Fonts mit den Font-Utilities vergr^@ern.\cViel Spa@!UU}nterst_tzt unseren kleinen Atari!Wenn Ihr's nicht tut, tut's keiner.John MCGowan U} Tx\XV03\Fplain\\CExploring The Wild FONTierby David Richardson\L Let's start off by saying what I intend to do with this colY}umn. For the moment, I intend to basically talk about Daisy Dot III, from now on refered to as DD3. I'll talk about how to usY}e it and what to expect from it. For starters, DD3 is not a public domain program. It's predecessor, DD2, is public domain. SY}ince DD3 is not public domain, I will not give the specific commands on how to use the program in this column. You will have Y}to buy it to get the documentation for that. Since DD3 is not copy-protected, it could be possible for someone to obtain a coY}py. But without the documentation that comes with it, you would not be able to get it to work very well. I do not want to be Y}responsible for giving away all of its' commands. I will tell you how to use it, and how to get around certain problems, but Y}I will not give the specific command that will accomplish this task. If you have DD2 or get it, I will be happy to talk abouY}t that, too, but in doing so, I will talk about the advantages of DD3 over DD2, which is great enough to warrant the purchaseY} of DD3. DD3 is not an expensive program. To get it, send $25.00 to:\CRoy Goldman2440 South JasmineDenver, CO 80222\L WY}hat you will get is 2 double-sided single-density disks. On these disks you will get the main program, DD3, and its' utilitieY}s. These utilities include a customizer program which allows you to customize DD3 so that it boots up with the default settinY}gs you specify. You get a utility program that allows you to magnify a font vertically. It allows you to italicize a font. ItY} also allows you to convert any screen fonts into DD3 compatible fonts. You also get a font editor which allows you to modifyY} any DD3 font, or you can create your own from scratch. The font editor also has a customizer program of its' own. Also incluY}ded on the disks are 50 NLQ fonts ready to use. What's all of this fuss about DD3? Well, let's start off by explaining what Y}it is. DD3 is a "print" processor, as opposed to a "word" processor. What this means is that DD3 takes a word processor file Y}that has been created on a word processor for the 8-bit Atari, and it allows the user to print out that same file with a variY}ety of fonts that otherwise would not be possible for the word processor or that printer. A printout is always limited by theY} capabilities of the word processor or the printer. If a person knows the control codes of their printer and can enter them iY}nto their word processor, they can get a fairly good variety of styles. However, not near the variety of styles or the qualitY}y of fonts as with DD3. DD3 allows the printing of what are called Near-Letter-Quality fonts, or NLQ for short. NLQ fonts arY}e fonts that are printed with high enough detail and resolution that it's hard for a person to tell that it was done on a dotY}-matrix printer. With NLQ fonts, you can print letters or term papers and people will think that you used a typewriter. With Y}DD3, not only do you have NLQ fonts, but if you don't like the ones you have and want to design your own, you can do so very Y}easily. Also, you can use more than one font in a document. And you're not limited to just the document. If you want, you canY} even print different fonts on the same printed line! You can underline, italicize or print in different densities. Another tY}hing is that DD3 must do all of the print formatting commands itself. You need your word processor for the sole purpose of enY}tering the text. Any print formatting commands used by your word processor, such as margin changes, line spacing, etc. are noY}t needed. DD3 has it's own print formatting commands. You use these instead of your word processor's. While typing in the texY}t using the word processor, simply type in the commands for DD3 where you want the changes. Although they will be part of theY} text file, they won't take up space when printed. Is all of this worth the hassle? Well, let's use my printer as an exampleY}. I have a Star NX1000 Multifont II printer. It has 4 built-in NLQ styles of letters. It has more if you take into account itY}alics, condensed, bold, and double- and quadruple-sized print, but these are just variations of the main 4. Other than that, Y}that's it. It is one of the best printers available especially for the price. With DD3, I have 50 more NLQ fonts to chose froY}m which come with the program, plus any other fonts that are either given to me or I make. I am limited only by my imaginatioY}n. Even my previous printer, a very old and reliable Gemini 10, not a 10X, could print out very nice quality fonts, and it waY}s never intended to print NLQ fonts. This gives the you the ability to print very professional-looking documents. Many of yoY}u out there have used the same word processor for years and know how versatile your printouts can be because you have taken tY}he time to know all of the commands of the word processor. The time and effort of learning all of this is well worth it, whenY} you consider the fine results you have had. This is even more true with DD3. With the right commands and fonts, you won't beY}lieve some of the things you can do with your tiny 8-bit system. Let me show you just some of the things you can do with DD3:Y}\Froman2\ This is a font called ROMAN2 that comes with DD3. It looks more like a conventional typewriter font, but if you lY}ook closely, you'll notice that it is proportional, which for those of you who aren't familiar with the term, each letter is Y}a different width, as opposed to a conventional typewriter, each letter is the same width.\Fplain\ Keeping that same line oY}f thought you could take it one step further:\S0\Fpica10\ If you really want people to think that while typing your term paY}per you slaved over a lowly typewriter, you could use this font called PICA10 which comes with DD3. These letters are all theY} same width, just like a typewriter.\S2\Fplain\ Of course, you're not going to fool anyone with these fonts, but they are qY}uite remarkable in their detail. Not many people take the time out to look very closely at every document they see to see whaY}t type of method was used to print them. It is quite possible that most people won't give them a second thought, but they'll Y}think you used a typewriter. You might even fool them into thinking that you wrote it by hand:\Fcasual\This font, called CAY}SUAL, is designed to look like handwriting. As you can see, you are limited only by your imagination.\Fplain\ All of these Y}changes were made with a few keystrokes and a few NLQ font files thrown in. And remember, FIFTY fonts come with the DD3 progrY}am. You want a bolder type of printing, say for a flyer or a head line? How about these examples of what you can do with variY}ous fonts?\S1\Fcooper\\LDaisy Dot III\Fprisma\\S0Y\S4ARD \S2S\S3A\S4LE\Fbotlneck\\S2Dance Party\Fplain\ Of the fonts yoY}u have seen so far, only ROMAN2, PICA10, and this font, called PLAIN, which is used to print this article, come with DD3. TheY} other fonts I created myself. As far as the NLQ fonts go, they will all be in the public domain. You can feel free to put thY}em on bulletin boards, or download them from bulletin boards. These extra fonts I have created I have already sent to Roy GolY}dman, along with many others that I have made. It is not as hard as you think to make new fonts. I will cover that subject inY} another column. If you are interested in DD3, and want to get a taste of what it is like, there is a public domain version Y}of DD3 that is free, but it does not do everything that the full-blown version does. The main thing that it doesn't do is it Y}won't allow you to switch fonts in a document. You are stuck with the same font throughout the document. This PD version of DY}D3 is supposed to be available on the bulletin boards. You might see if you can get it. I haven't seen it. These are just a Y}few of the samples of what you can do with DD3. Hopefully through this column, I will eventually show you all of the fonts avY}ailable for DD3 that I am aware of. I hope that I have aroused your curiosity about this excellent program. Eventually we wY}ill get into other subjects, such as:--Converting Printshop icons so that they are compatible with DD3--Double column printY}ing--Designing fonts with the font editor, either from scratch or by modifying existing ones.--Printer compatibility--WordY} processor compatibility--Any other subjects you may wish to know about If you have any questions and would like to write,Y} write to me C/O:\CLawrence Atari Computer ClubP.O. Box 1415Lawrence, KS 66044\R--David Richardsonwould like to write,Xi\XV02\Fplain\\CExploring The Wild FONTierby David Richardson\L In the last article, I talked about the capability to desig]}n your own fonts using Daisy Dot III's Font Editor. Let's see if I can get you started on how to accomplish this task. First,]} let's get your feet wet. Perhaps the easiest way would be to take an already existing font and use it as a starting point. O]}nce the Editor is loaded up, simply load in one of the fonts you already have. Maybe you should choose one you don't like. Wh]}atever it is you don't like about that font, you could change it to your liking. Perhaps you want to make a character look sm]}oother or easier to read. Maybe one of the letters of a font looks funny to you. A good example would be the "A", "W", "g", "]}p" or "q" of the PLAIN.NLQ font:\CAAA WWW ggg ppp qqq\LMaybe you think the sides of the "A" aren't straight enough. The s]}ame could be said for the "W". Maybe you think that the letters "g", "p" & "q" need to have the vertical straight line a litt]}le closer to the round part. Maybe you want the whole font larger, or maybe smaller. Any of these are good ways to get starte]}d, at least until you get the hang of it. If you choose to start from scratch instead, you could do the easiest letters firs]}t. These would be the "I", "H" and "O". Here is a way to make a very simple font from scratch: To make the "O", you could mak]}e it a perfect circle using the circle-drawing command of the Editor. For the "I", simply make it a vertical line. Once these]} are done, use them to create other letters. The Editor has a "Transcribe" command. This means you go to a letter you haven't]} done yet or you wish to change, say, a "C" for instance. You then "transcribe", or copy, the already created "O" to where th]}e "C" is supposed to be. You now have two characters that look like an "O", but the one you are on now is simply an "O" that ]}will be transformed into a "C". You then erase the part of the "O" that you don't want and you have a "C". You could then tra]}nscribe the "C" to the "G" and add a horizontal line and you have the "G". Transcribe the "O" to the "Q" and add a small line]} in the lower right-hand corner and you have the "Q". Transcribe the "I" to the "T" and add a horizontal line across the top.]} Transcribe the "I" to the "H", widen the box and scroll the "I" to the side and draw another "I", and then draw a horizontal]} line between them and you have an "H". It doesn't take long to do these. In just a few short minutes you have the letters I,]} O, C, G, Q, T and H. This is 7 out of 26 upper case letters, that's better than one-fourth of all of the upper case letters.]} Another easy letter is the "E". From here you can transcribe further: O to D, E to F, E to B, E to L, H to M (erase the hori]}zontal and add the "V" shape), H to N (erase the horizontal line and add a diagonal), B to P, and P to R. You now have B, C, ]}D, E, F, G, H, I, L, M, N, O, P, Q, R and T. That's 16 out of 26 without a lot of hard work. You could transcribe the "M" to ]}the "W" and then flip it upside down. The "U" could be an "O", but with a smaller circle, then you just erase the top half an]}d add vertical lines. From the "U" you could then make the "J" simply by erasing part of the left vertical. The "X" is easy t]}o make. Use the "Draw Line" command of the Editor. Cycle through the "mirror" option until it is on "Vertical". Put the curso]}r at the upper left and hit the joystick button. Now move the cursor to the lower right and hit the button again. The entire ]}"X" will be drawn. From the "X" you could make the "K", although you would probably have to modify it a bit. The "V" is easy ]}too. Keep the mirror at "Vertical" and in the "Draw Line" mode. Place the cursor at the upper left and hit the button. Now pl]}ace the cursor at the bottom edge but only half-way across and hit the button. The entire "V" will be drawn. Flip the "V" ver]}tically and add a horizontal line and you have the "A". This leaves the S, Y and Z. The Z is easy also. Draw a horizontal lin^}e across the top and bottom, and then the diagonal. The Y could be made from the V. Scroll the "V" half-way up the screen. Th^}e excess part of the "V" will "wrap-around" and come up from the bottom. Erase these and add a vertical and you have the "Y".^} A simple "S" could be made from 2 circles stacked on top of one another, erasing the excess. That covers all 26 upper-case l^}etters. These would be very crude representations, and fancier letters would require a little more effort. The point I am tr^}ying to make here is that you don't necessarily have to literally draw every character. A lot of time and frustration can be ^}avoided if you can use a letter you have already done. If you will sit down and think these things out, you could make font-c^}reating more enjoyable and less time-consuming. This is especially true if you use the Editor's built-in drawing aids. What ^}applies for the upper case letters also applies for the lower case letters. Make the "n" first and from that you should be ab^}le to make the "m", "h", and "r". Use the "o" to make the "e", "c", and "p". Flip the "p" horizontally and you have the "q". ^ }Flip the "p" and "q" vertically and you basically have the "b" and "d". Modify the "q" to make the "g". This same line of thi^ }nking can be used throughout the font. As far as the numbers and punctuation characters go, you can use already-made letters^ } to make them also, just use your imagination. One thing to remember is that if you are creating a font that will have both u^ }pper and lower case, don't use the entire heighth of the Edit window for the upper case. You must leave room for the descende^ }rs of the lower case letters. When designing the more complicated fonts, I have found it is best to do the harder characters ^}first. If you can't fit an entire "W" in the window, then either try another design or use two characters to make the "W". Th^}is means you must give up one of the other characters. Since a "K" is often a hard character to get to look right, I often tr^}y to do it first. This way I don't get a whole font done only to find out that I can't make a "K". Also, you might try doing ^}the lower case letters first. If you can't get them to look right, you might think of eliminating the lower case altogether. ^}The hardest characters to design for me are S, W, K, M, and most of the lower case letters. Also the &, @ and % are hard to d^}o. I won't think twice about leaving these characters out altogether. This is especially true with the more elaborate fonts.^} Look at the PLAIN.NLQ font and see how many letters are almost exactly like other letters, except they are oriented differen^}tly:ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz0123456789<>!"#$%&'()-=_|;+*:\\^[]?@ Notice how the "b" and "d"^} are mirror images of each other and so are the "p" and "q". The "6" and "9" are the same character, but one is flipped both ^}horizontally and vertically. The "3" was made from the "8", which was made from the "B". The "u" is simply an upside down and^} flipped "n". This is how you save time and effort. You will find that sometimes the printed character looks better than the^} one on the screen and vice versa. There were many times when I thought a character would look like crap because of the way i^}t looked on the screen, but it would print out very nice. There were also many times when it looked perfect on the screen and^} the printed character would leave something to be desired. As you will sometimes find when creating a font, you will either^} try to save the font or go to another character in the font. When you do so, the Editor checks the bit arrangement of the cu^}rrent character to see if it would result in the program trying to send the illegal values of 13 or 155 to the printer. If su^}ch an arrangement is found in the character, the Editor will ask you to edit a specific column (0 through 31) on either the t^}op or bottom half. This means you must actually change the way your character looks. It may only be one pixel, but that one p^ }ixel may be the one that you really need to make the character look right. You may find that the only way to get it to accept^!} it is to change a pixel you don't want to change. There should be more than one way to satisfy the program into accepting th^"}e character. Keep trying different ones until you can come up with one you are happy with and the computer will accept. I had^#} this problem in designing a font called COOPER.NLQ and I was not happy with any of the arrangements that were acceptable to ^$}the program. Then I had an idea. I put the character back the way I wanted, and tried it again and of course, it wouldn't acc^%}ept it. Then I tried one more thing. I scrolled the whole character down one pixel and it was accepted! This simple change al^&}tered the bit arrangement. I then went through the whole font and lowered each character one pixel so that they would all mat^'}ch. If you have this problem, you might try this solution. Of course, this may change a previously legal bit arrangement of a^(}nother column into an illegal bit arrangement. There is a font I designed called LADDERS.NLQ which comes with DD3. I couldn't^)} for the life of me get the "#" symbol to be accepted as a legal character. Since I had already designed some other fonts tha^*}t Roy hadn't seen yet, I sent them to him along with LADDERS without the "#" character. I told him about my problem. He got o^+}ne to work and sent it back. The one he came up with looked like one I had tried. Since LADDERS was one of my first fonts, I ^,}probably hadn't tried to scroll the character either up or down. Sometimes when you work on something alot you might overlook^-} the obvious. So, if you can't solve it, let someone else try. Their fresh point of view may be just what it takes to solve t^.}he problem. You can sometimes accomplish the same thing if you put down what you are doing and get away from it for a while. ^/}When you come back, you might see something you hadn't seen before. As always, I would like to see any fonts you might creat^0}e. Again, if you have any questions and would like to write, write to me C/O:\CLawrence Atari Computer ClubP.O. Box 1415L^1}awrence, KS 66044\R--David Richardsonwould like to write, write to me C/O:\CLawrence Atari Computer ClubP.O. Box 1415L\(