Utilities/HelpReader/!HelpGen/Text/!DemoApp/MakeHelp/Text

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This website contains an archive of files for the Acorn Electron, BBC Micro, Acorn Archimedes, Commodore 16 and Commodore 64 computers, which Dominic Ford has rescued from his private collection of floppy disks and cassettes.

Some of these files were originally commercial releases in the 1980s and 1990s, but they are now widely available online. I assume that copyright over them is no longer being asserted. If you own the copyright and would like files to be removed, please contact me.

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Archimedes archive » Micro User » MU 1991-05.adf » PDStuff » Utilities/!HelpGen/Text/!DemoApp/MakeHelp/Text
Archimedes archive » Micro User » MU 1991-07.adf » PD-Stuff » Utilities/HelpReader/!HelpGen/Text/!DemoApp/MakeHelp/Text

@#introduction
Getting the best from the Acorn Outline Font Manager
====================================================

@%drawing#Drawing characters
@%configure#Configuration commands
@%notes#Miscellaneous Notes

This document describes some aspects of RISC OS' new Outline Font Manager,
and contains some hints as to how to get the best from it. The font manager
is a complex piece of software which must sometimes make delicate tradeoffs
between speed, space, and font quality. Getting this completely optimal
involves reading the user's mind and predicting the future, both of which
most computers still find a little tricky.

The fonts controlled by the Font Manager live in files in some filing
system, usually inside a directory called !Fonts. Although it can still read
the font files used in the old Font Manager, the recommended form in which
they now exist defines each character by its *outline*. This can then be
scaled to any desired size, when rendering the character on a printer or on
the screen.

@#drawing
Two sophisticated tricks are used to improve the quality of the rendered
fonts, and one sophisticated trick to improve the speed of the overall
system.

The first is called *anti-aliasing*: rather than just rendering the
characters using black and white pixels, grey pixels are also used to make
curves look smoother, and to provide a better approximation to the desired
image when few pixels are available. This results in an astonishing jump in
quality when few pixels are available, such as on the screen. The old Arthur
1.20 Font Manager also used this.

The second is called *hinting*. This means subtly altering the outline of
the character being rendered in ways that depend on the target pixel grid.
This allows properties concerning the symmetry of the character to be
accurately preserved when the character is arbitrarily scaled. This is
particularly useful when grey pixels are not available (such as on most
printers). This is the major innovation of the new Outline Font Manager,
previously such algorithms have only been in general use inside expensive
PostScript printers. Acorn's implementation of this is so effective that
many people find hinted character quality on the screen perfectly acceptable
even without anti-alasing.

The performance trick is called *cacheing*. Unfortunately, loading a
character's outline from a file and computing a bitmap from it (using
hinting and/or anti-aliasing) takes time. In order to get round this, such
bitmaps are retained in the font manager when they have been computed, in
case they are needed again. This is where predicting the future comes in: of
the many hundreds and thousands of characters and sizes that the font
manager must cache (e.g. retain), which ones are worth keeping? All that the
Font Manager can do is to keep as many as it has space for, discarding ones
that have not been used for some time.

As the user of this system you can provide input to this process in the
following way (this is where the Font Manager's inability at mind-reading is
annoying).

First, only you can decide how much memory the Font Manager may use for
cacheing, and how much you need for other things. This is done by setting
the Font cache size in the Task Window, or via *Configure FontSize (the
latter will set the power-on default value).

You can also spend disc memory to main certain operations faster. It's
possible to save extra files inside !Fonts that contain prescaled,
anti-aliased files

Second, only you can decide how important character quality is to you, and
how much time and memory you are prepared to spend on the quality of the
results you see on the screen. Different people have different perceptions
of "quality" too.

@#configure
You can control this using several new *Configure commands, as follows. If
you do not touch these values then you will find that reasonable defaults
are set up.

*Configure FontMax2
This sets the maximum size of anti-aliased characters, in pixels. If a
character is larger than this value then anti-aliasing will not be used.
Anti-aliasing quadruples the size of retained bitmaps in the cache, and
slows down conversion from outlines too. Set this to 0 to turn anti-aliasing
off entirely.

*Configure FontMax3
This sets of the maximum size of any form of retained bitmap. If a character
to be drawn is larger than this then the outline will be drawn directly to
the screen (or printer) with no cacheing happening at all. This is so that
document headings, etc., where a few larger characters appear, do not flush
everything else out of the font cache.

The value is set in pixels (rather than points) because it is the pixel size
that affects cache usage. This corresponds to different point sizes on the
screen and on the printer.

*Configure FontMax4
If this is non-zero then *sub-pixel anti-aliasing* is used. This is a
refinement of anti-aliasing in which four separate versions of each
character are retained, depending on the placement of the character at
sub-pixel accuracy. This can have a noticeable effect on character quality
at small sizes but for most users the delay involved is unacceptable. Thus,
most users leave this at the default value of 0.

*Configure FontMax5
If this is non-zero then sub-pixel anti-alaiasing is used in the vertical
direction as well as the horizontal direction. This is even rarer than use
of FontMax4. Almost all users leave this at the default value of 0.

(Do not use *Configure FontMax1, it is for controlling the mixed use of
outline and bitmap files and is of little importance to most users.)

@#trouble
Troubleshooting
---------------

If every repaint on the screen causes intensive disc and hourglass activity
then you may be having trouble with the font cache *thrashing* (e.g. it's
too small to hold the range of fonts you are using at the moment). There may
be other causes, e.g. the DTP program can cause disc activity without the
font manager being involved.

Try the following things:

1. Change the size of the font cache using the Task Window. Does slightly
more memory make it work better?

2. Change FontMax2 to zero (reconfiguring these values takes immediate
effect, you do not have to reboot). Is the quality of characters still
acceptable? Does performance improve?

3. Change FontMax3 to a lower value, or even 0. This should sharply reduce
thrashing, but the action of painting on the screen will become much slower.

Remember that these values will survive a reset or power-on.

@#notes
Miscellaneous Notes
-------------------

The above should be enough information to allow the typical user to get the
most out of the Outline Font Manager. Here is some additional information on
various related subjects, and some more advanced tips for effective use.

The technology in the Outline Font Manager really is state-of-the-art. The
hinting gives outstanding quality at low resolutions. No competing system
has enough processor power to be able to use anti-aliasing effectively. The
generation of screen and printer fonts from the same source (with precisely
matching metrics) makes it easy to distribute new fonts, and solves many
problems in creating powerful WYSIWYG applications. Unlike some other
companies with similar technology, Acorn encourages the creation of new
fonts by third parties and does not attempt to encrypt the fonts themselves.

The default FontMax settings are designed for a user of a small system. A
system with more than 1MB on which DTP-like applications are used
intensively, would typically be configured with slightly larger values.

A font is actually cached in blocks of 32 characters, with adjacent ASCII
codes. Thus, just painting a single character will typically pull in 31
others. This is because each disc operation has a subtantial start-up time.

It's possible to save precomputed bitmaps from the cache into the filing
system, this can speed up the use of certain sizes of font at the cost of
disc space. *Configure FontMax 1 is used to control this.

@#smallfonts
What is sub-pixel anti-aliasing? The width of each character is stored to
greater accuracy than the pixels on the screen. Thus, in !Edit in mode 12,
create a line consisting of lots of lower-case Trinity.Medium 'l's. See how
they bunch up in groups of about 6 characters, with an extra pixel gap
between bunches? This is because the width of this letter is not an exact
multiple of the size of a screen pixel. Now set *Configure FontMax4 to 20,
and see the difference: the bunching is smoothed out. Use !Magnifier to
study the effect in more detail.

It's possible for the font cache to grow if its size is definitely too
small, up to a limit set by *Configure FontMax. If this happens it will then
shrink back to the normal current size as soon as any fonts can be
discarded. The FontMgr decides to do this rather than throw away cached
blocks of currently "open" fonts. This can be used as a hint by application
programs to make fix #1 in the "Troubleshooting" (@%trouble#) section happen
automatically.

When printing, there are conflicting requirements for memory. The Font
manager needs memory to cache fonts, and the printer driver needs memory to
build up a page image to send to the printer. Both of these affect printing
speed, you will have to experiment to find the optimum. Changing to screen
mode 0 while printing, for instance, can speed it up considerably. The print
buffer is created from the Wimp free pool. As a general rule these remarks
do not apply to PostScript printing, which operates in a different way.

The font manager actually finds the fonts in !Fonts by examining directories
named in the environment variable Font$Path. By default this (for
compatibility with Arthur 1.20) points to another environment variable,
Font$Prefix. It's possible to get the font manager to search more than one
directory for fonts, by adding other directories to Font$Path.

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00000050  3d 3d 3d 3d 3d 3d 3d 3d  3d 3d 3d 3d 3d 3d 3d 3d  |================|
*
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000026a0  61 74 68 2e 0a                                    |ath..|
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