MetaFun - Pragma ADE

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132 As you may know, TEX's ambassador is a lion, while METAFONT is represented by a lioness. It is still unclear if they have a relationship, but if so, and if a baby is born, may it enjoy METAFUN. If we can use \framed, we can also use backgrounds. \def\processword#1% {\noindent\framed[frame=off,background=lions]{#1} } We can add a supperellipsed frame using the following definition: \startuniqueMPgraphic{lions a} path p ; p := fullsquare xyscaled (\overlaywidth,\overlayheight) superellipsed .85 ; pickup pencircle scaled 1pt ; fill p withcolor .850white ; draw p withcolor .625yellow ; \stopuniqueMPgraphic \defineoverlay[lions][\uniqueMPgraphic{lions a}] As you may know, TEX's ambassador is a lion, while METAFONT is represented by a lioness. It is still unclear if they have a relationship, but if so, and if a baby is born, may it enjoy METAFUN. \startuseMPgraphic{lions b} path p ; p := fullsquare xyscaled (\overlaywidth,\overlayheight) randomized 5pt ; pickup pencircle scaled 1pt ; fill p withcolor .850white ; draw p withcolor .625yellow ; \stopuseMPgraphic \defineoverlay[lions][\uniqueMPgraphic{lions b}] As you may know, TEX's ambassador is a lion, while METAFONT is represented by a lioness. It is still unclear if they have a relationship, but if so, and if a baby is born, may it enjoy METAFUN. \startuniqueMPgraphic{lions c} path p ; p := fullsquare xyscaled (\overlaywidth,\overlayheight) squeezed 2pt ; pickup pencircle scaled 1pt ; fill p withcolor .850white ; draw p withcolor .625yellow ; \stopuniqueMPgraphic \defineoverlay[lions][\uniqueMPgraphic{lions c}] Enhancing the layout Typesetting graphics
As you may know, TEX's ambassador is a lion, while METAFONT is represented by a lioness. It is still unclear if they have a relationship, but if so, and if a These paragraphs were typeset with the following settings. \setupalign[broad, right] % == \veryraggedright \setupalign[broad, middle] % == \veryraggedcenter \setupalign[broad, left] % == \veryraggedleft baby is born, may it enjoy METAFUN. The broad increases the raggedness. We defined three different graphics (a, b and c) because we want some to be unique, which saves some processing. Of course we don't reuse the random graphics. In the definition of \processword we have to use \noindent because otherwise TEX will put each graphic on a line of its own. Watch the space at the end of the macro. 4.6 Graphics and macros 10 Because TEX's typographic engine and METAPOST's graphic engine are separated, interfacing between them is not as natural as you may expect. In CONTEXT we have tried to integrate them as much as possible, but using the interface is not always as convenient as it should be. What method you follow, depends on the problem at hand. The official METAPOST way to embed TEX code into graphics is to use btex ... etex. As soon as CONTEXT writes the graphic data to the intermediate METAPOST file, it looks for these commands. When it has encountered an etex, CONTEXT will make sure that the text that is to be typeset by TEX is not expanded. This is what you may expect, because when you would embed those commands in a stand--alone graphic, they would also not be expanded, if only because METAPOST does not know TEX. With expansion we mean that TEX commands are replaced by their meaning (which can be quite extensive). Users of CONTEXT MKIV can skip the next paragraph. When METAPOST sees a btex command, it will consult a so called mpx file. This file holds the META POST representation of the text typeset by TEX. Before METAPOST processes a graphic definition file, it first calls another program that filters the btex commands from the source file, and generates a TEX file from them. This file is then processed by TEX, and after that converted to a mpx file. In CONTEXT we let TEXEXEC take care of this whole process. Because the btex ... etex commands are filtered from the raw METAPOST source code, they cannot be part of macro definitions and loop constructs. When used that way, only one instance would be found, while in practice multiple instances may occur. This drawback is overcome by METAFUN's textext command. This command still uses btex ... etex but writes these commands to a separate job related file each time it is used. 10 After the first METAPOST run, this file is merged with the original file, and METAPOST is called again. So, at the cost of an additional run, we can use text typeset by TEX in a more versatile way. Because METAPOST runs are much faster than TEX runs, the price to pay in terms of run time is acceptable. Unlike btex It took the author a while to find out that there is a METAPOST module called tex.mp that provides a similar feature, but with the disadvantage that each text results in a call to TEX. Each text goes into a temporary file, which is then included and results in METAPOST triggering TEX. Graphics and macros Enhancing the layout 133
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Hans Hagen metafun context mkiv
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Introduction This document is about
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Content Conventions . . . . . . . .
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1 Conventions When reading this man
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1 Welcome to MetaPost 1.1 Paths 2 I
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The open path is defined as: (1cm,1
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1.2 Transformations We can store a
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(x,y) zscaled (u,v) (xu − yv,xv +
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z0 = (0.5cm,1.5cm) ; z1 = (2.5cm,2.
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4 0 1 3 2 "z0..z1..z2..z3..z0" Only
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0 1 3 2 "z0..z1..z2--z3" Watch how
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0 1 0 2 2 1 "(z0..z1..z2..z3) cutaf
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2 0 1 Using ( ) is not mandatory bu
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0 4 1 3 2 0 These two graphics were
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Since we don't consider this unfill
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First there is the concept of varia
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1.8 Loops Yet another programming c
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If in the definition of doublescale
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test (a) (b) (c) (d) ; test (a,b) (
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If you forget about the colors, the
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linejoin=mitered linecap=butt linej
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1.15 Text Most dashpatterns can be
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Z13 Z24 Z14 Z1 Z12 Z2 Z21 Z23 Z11 Z
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3 Because we want to call this macr
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dotlabel.rt ("$Z_{3}$", z3) ; dotla
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A different approach is to use a tw
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The graphic extends beyond the boun
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p := (p shifted (5cm,0)) randomized
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path p ; p := (0,0) -- (2cm,3cm) ;
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path p ; p := (0cm,0cm) -- (4cm,1cm
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Here, the image macro creates an (a
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So, in addition to on to specify a
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Watch how we can pass a point (poin
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2 A few more details In this chapte
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The second line does just as it say
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fill shape ; draw shape ; filldraw
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2.3 Units 6 As you can see here, as
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2.4 Scaling and shifting When we dr
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Especially when a path results from
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points first order curve second ord
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first iteration second iteration th
Page 85 and 86: and get: We don't even need that mu
Page 87 and 88: Figure 2.3 Circles with minimized i
Page 89 and 90: The tension specifier can be used t
Page 91 and 92: The asymetrical tensions are less p
Page 93 and 94: z0 .. z1 .. z2 z0 {curl 1} .. z1 ..
Page 95 and 96: 7 In literature concerning POSTSCRI
Page 97 and 98: currentpicture := currentpicture sl
Page 99 and 100: We can achieve this by defining poi
Page 101 and 102: We're still not there. Like in a pr
Page 103 and 104: Due to the thicker line width used
Page 105 and 106: left up down right The previous def
Page 107 and 108: Here the & glues strings together,
Page 109 and 110: picture p ; p := "MetaFun" normalin
Page 111 and 112: pickup pencircle scaled 2pt ; draw
Page 113 and 114: Because the z--variables are used f
Page 115 and 116: 3 Embedded graphics In addition to
Page 117 and 118: \startMPcode fill fullcircle scaled
Page 119 and 120: \startuniqueMPgraphic{right or wron
Page 121 and 122: {\externalfigure[mprun:extrafun::my
Page 123 and 124: \startlinecorrection[blank] \proces
Page 125 and 126: In order to prevent problems, we ad
Page 127 and 128: There are a few more low level swit
Page 129 and 130: When we convert color to gray, we u
Page 131 and 132: 4 Enhancing the layout One of the m
Page 133 and 134: 4.2 Overlay variables [offset=3pt,f
Page 135: This background demonstrates that a
Page 139 and 140: This works as expected: \RotatedTex
Page 141 and 142: We will now apply this knowledge of
Page 143 and 144: p := p shifted (2o,OverlayHeight-yp
Page 145 and 146: We demonstrated that when defining
Page 147 and 148: 5 Positional graphics In this chapt
Page 149 and 150: 5.2 Anchors and layers In a previou
Page 151 and 152: pab := pab cutafter (pab intersecti
Page 153 and 154: fill p withcolor \MPcolor{lightgray
Page 155 and 156: The previous example also demonstra
Page 157 and 158: \setMPlayer [test] [somepos-1] [loc
Page 159 and 160: 6 Page backgrounds Especially in in
Page 161 and 162: As soon as you want to make an elec
Page 163 and 164: do_it (1,4,false) ; do_it (5,4,fals
Page 165 and 166: gigigi Watch how the bounding boxes
Page 167 and 168: You can test this concept yourself
Page 169 and 170: StartPage ; fill Area[Text][Text] s
Page 171 and 172: fi ; Main := Main enlarged 6pt ; pi
Page 173 and 174: ulcorner Field[Text] [Text] -urcorn
Page 175 and 176: The left picture demonstrates what
Page 177 and 178: There are two more operators: inner
Page 179 and 180: 7 Shapes, symbols and buttons One c
Page 181 and 182: Table 7.1 demonstrates how scratch
Page 183 and 184: for i := 1 upto \MPvar{n} : xpos :=
Page 185 and 186: This table is defined as: \bTABLE[f
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Since we have collected some nice b
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8 Special effects Sometimes we want
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Because of this implementation, sha
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test_shade(origin shifted (.25cm,0)
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fill p shifted (3cm,0) withcolor .5
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\definecolor [tred] [r=1,t=.5,a=exc
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Figure 8.4 Another clipped cow. \pl
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withpen pencircle scaled 4mm withco
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Because this graphic is the result
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The resulting PDF file can be inclu
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Including another METAPOST graphic,
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After these examples your are proba
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In this graphic, we have two text f
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} {}} Here we feed some MATHML int
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9 Functions METAPOST provides a wid
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9.2 Grids Some day you may want to
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13 13 13 13 Figure 9.1 Quick and di
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2 − ×10 1 − 1 0×100 Figure 9.
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Figure 9.3 By using transparent col
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There are enough applications out t
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Of course we could extend this LUA
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10 Typesetting in METAPOST It is sa
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Meta is a female lion! Figure 10.2
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We use the low level CONTEXT macro
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So, now we have: M etaPostisFun! Wh
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n := n + 1 ; len[n] := \the\wd\MPbo
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ap := point at of RotPath ; ad := d
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\startoverlay {\startuseMPgraphic{f
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\startuseMPgraphic{text draw} draw
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vsize := ypart urcorner p - ypart l
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We are now ready for an attempt to
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We can manipulate the heigth and de
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\strutheight) ; % height of first l
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w := h := 6cm ; o := 6pt ; path p ;
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Donald Knuth has spent the past sev
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Donald Knuth has spent the past sev
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11 Debugging Those familiar with CO
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4 3 5 2 6 1 0 7 8 You can pass opti
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3 4 0 2 1 Of course you may want to
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12 Defining styles Since the integr
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color=gray, contrastcolor=gray, sty
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def right_menu_button (expr nn, rr,
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\Topic {Edward R. Tufte} \input tuf
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A Few Nice Quotes A Simple Style De
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13 A few applications For those who
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vardef spring (expr a, b, w, h, n)
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There is a numeric constant labelof
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text text text text text text text
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p := fullcircle scaled (2*length(lo
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These definitions of anglebetween a
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Because in most cases we want the l
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γ δ β ɛ α ζ δ γ β ɛ metho
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There are for sure more (efficient)
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The next circle that we draw shows
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popcurrentpicture ; enddef ; Here,
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draw (u,i) -- (2u,i) withcolor .5wh
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Figure 13.4 Koffka's examples of ma
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\startbuffer[a] def start_everythin
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pointC := circleA intersectionpoint
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draw_basics ; draw_circles ; draw_i
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Figure 13.6 Bisecting a line segmen
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z1 = (0, height/2) ; z2 = (width/2-
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The clipping path is applied by say
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13.8 Music sheets The next example
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The euro symbol A few applications
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draw i withpen pencircle scaled 1pt
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16 draw b withpen pencircle scaled
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\startMPcode \includeMPgraphic{gamb
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14 METAFUN macros CONTEXT comes wit
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A METAPOST syntax In the METAFONT b
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〈number or fraction〉 → 〈num
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〈suffix〉 → 〈empty〉 | 〈s
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〈assignment〉 → 〈variable〉
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〈command〉 → clip 〈picture v
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〈if test〉 → if 〈boolean exp
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B This document This document is pr
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C Reference C.1 Paths In this chapt
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tension atleast numeric (0,0)..(.75
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angle origin--dir(angle(1,1)) metap
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circle bcircle metafun variable lci
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path randomized numeric/pair unitsq
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path stretched numeric/pair (fullci
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path zscaled pair fullcircle zscale
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path llenlarged numeric fullcircle
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path urmoved numeric fullcircle urm
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everse path reverse fullcircle shif
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oundingbox path boundingbox fullcir
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C.3 Points top pair top center full
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C.4 Attributes withcolor rgbcolor w
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draw draw fullcircle metapost macro
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ounded linecap := rounded metapost
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label.top label.top("MetaFun",origi
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D Literature There is undoubtly mor
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Index a anchoring 143, 145 angles 2
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This document introduces you in the
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