Engenheiro agrícola

TUGboat, Volume 24 (2003), No. 2

183 pretation of Apple’s licensing agreement leads me to believe that any such parsing or conversion would not be allowed by that license. However, having purchased Mac OS X and its $10,000 worth of fonts, one cannot help but wish to use them. Although Zapfino works well in “Cocoa” programs in Mac OS X such as TextEdit.app, its special features such as ligatures are enabled by AAT which is unfortunately not supported by the more traditional “Carbon” Macintosh applications in which class all mainstream graphic design applications are, at this writing.2 This is unfortunately quite limiting: either one must limit oneself to Cocoa applications, or in applications such as InDesign, make use of its Glyph palette to insert alternates and ligatures by repetitive pointing-and-clicking. Since there is no TEX variant which can access system fonts on Mac OS X as of this writing,3 one must develop a work-around which allows one to access arbitrary fonts from within TEX and to simulate the sophisticated typesetting capabilities of OpenType or Apple Advanced Typography. The large character sets of fonts such as Apple Chancery or Zapfino make accessing characters in 8-bit blocks untenable, so Omega is an obvious choice. This serves two purposes: first, it makes the typeface, Zapfino by Prof. Hermann Zapf available for use in TEX by way of Omega; second, it provides an encoding scheme and mechanism to access arbitrary ligatures and alternates which may be of use for other projects. History Zapfino had its origins in Prof. Zapf’s 1944 sketchbook, when he was a mapping officer during World War II. A previous attempt to render those letterforms as type, Virtuosa Script for D. Stempel, had been rather compromised by the limitations of hot metal matrices, especially the swash letters. This design was revived when David Siegel in 1993, after working on the Euler project with Prof. Zapf, and after graduating approached him about a chaotic calligraphic typeface