MetaFun - Pragma ADE

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252 We will surround this text with a circular line, that we define as follows. By using a buffer we keep things organized. \startbuffer[circle] \startuseMPgraphic{followtokens} path RotPath ; RotPath := reverse fullcircle rotatedaround(origin,90) xscaled \overlaywidth yscaled \overlayheight ; drawoptions (withcolor .625red) ; \stopuseMPgraphic \followtokens {This is just a dummy text, kerned by T{\kern -.1667em\lower .5ex\hbox {E}}{\kern -.125emX} and typeset in a circle using {\setMFPfont M}{\setMFPfont E}{\setMFPfont T}{\setMFPfont A}{\setMFPfont P}{\setMFPfont O}{\setMFPfont S}{\setMFPfont T}.\quad} \stopbuffer \defineoverlay[edge][{\getbuffer[circle]}] The text and graphics come together in a framed text: \startbuffer[quote] \framed [offset=6pt,background=edge,frame=off] {\getshapetext} \stopbuffer \placefigure {One more time Hofstadter's quotation.} {\getbuffer[quote]} Here also, I will rewrite things a bit so that we can avoid \startMPdrawing outside the macro, and thereby avoid problems. I can also add the maps cdrom cover as example. Typesetting in METAPOST Libraries
Donald Knuth has spent the past several years working on a system allowing him to control many aspects of the design of his forthcoming books, from the typesetting and layout down to the very shapes of the letters! Seldom has an author had anything remotely like this power to control the final appearance of his or her work. Knuth's TEX typesetting system has become well-known and available in many countries around the world. By contrast, his METAFONT system for designing families of typefaces has not become as well known or available. In his article “The Concept of a Meta- Font”, Knuth sets forth for the first time the underlying Figure 10.5 One more time Hofstadter's quotation. T h i s i s j u s t a d u m m y t e x t , k e r n e d b y T E X a n d t y p e s e t i n a c i r c l e u s i n g M E T A P O S T . Libraries Typesetting in METAPOST 253
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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
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and get: We don't even need that mu
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Figure 2.3 Circles with minimized i
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The tension specifier can be used t
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The asymetrical tensions are less p
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z0 .. z1 .. z2 z0 {curl 1} .. z1 ..
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7 In literature concerning POSTSCRI
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currentpicture := currentpicture sl
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We can achieve this by defining poi
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We're still not there. Like in a pr
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Due to the thicker line width used
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left up down right The previous def
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Here the & glues strings together,
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picture p ; p := "MetaFun" normalin
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pickup pencircle scaled 2pt ; draw
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Because the z--variables are used f
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3 Embedded graphics In addition to
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\startMPcode fill fullcircle scaled
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\startuniqueMPgraphic{right or wron
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{\externalfigure[mprun:extrafun::my
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\startlinecorrection[blank] \proces
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In order to prevent problems, we ad
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There are a few more low level swit
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When we convert color to gray, we u
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4 Enhancing the layout One of the m
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4.2 Overlay variables [offset=3pt,f
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This background demonstrates that a
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As you may know, TEX's ambassador i
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This works as expected: \RotatedTex
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We will now apply this knowledge of
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p := p shifted (2o,OverlayHeight-yp
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We demonstrated that when defining
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5 Positional graphics In this chapt
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5.2 Anchors and layers In a previou
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pab := pab cutafter (pab intersecti
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fill p withcolor \MPcolor{lightgray
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The previous example also demonstra
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\setMPlayer [test] [somepos-1] [loc
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6 Page backgrounds Especially in in
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As soon as you want to make an elec
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do_it (1,4,false) ; do_it (5,4,fals
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gigigi Watch how the bounding boxes
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You can test this concept yourself
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StartPage ; fill Area[Text][Text] s
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fi ; Main := Main enlarged 6pt ; pi
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ulcorner Field[Text] [Text] -urcorn
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The left picture demonstrates what
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There are two more operators: inner
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7 Shapes, symbols and buttons One c
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Table 7.1 demonstrates how scratch
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for i := 1 upto \MPvar{n} : xpos :=
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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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Page 209 and 210: After these examples your are proba
Page 211 and 212: In this graphic, we have two text f
Page 213 and 214: } {}} Here we feed some MATHML int
Page 215 and 216: 9 Functions METAPOST provides a wid
Page 217 and 218: 9.2 Grids Some day you may want to
Page 219 and 220: 13 13 13 13 Figure 9.1 Quick and di
Page 221 and 222: 2 − ×10 1 − 1 0×100 Figure 9.
Page 223 and 224: Figure 9.3 By using transparent col
Page 225 and 226: There are enough applications out t
Page 227 and 228: Of course we could extend this LUA
Page 229 and 230: 10 Typesetting in METAPOST It is sa
Page 231 and 232: Meta is a female lion! Figure 10.2
Page 233 and 234: We use the low level CONTEXT macro
Page 235 and 236: So, now we have: M etaPostisFun! Wh
Page 237 and 238: n := n + 1 ; len[n] := \the\wd\MPbo
Page 239 and 240: ap := point at of RotPath ; ad := d
Page 241 and 242: \startoverlay {\startuseMPgraphic{f
Page 243 and 244: \startuseMPgraphic{text draw} draw
Page 245 and 246: vsize := ypart urcorner p - ypart l
Page 247 and 248: We are now ready for an attempt to
Page 249 and 250: We can manipulate the heigth and de
Page 251 and 252: \strutheight) ; % height of first l
Page 253 and 254: w := h := 6cm ; o := 6pt ; path p ;
Page 255: Donald Knuth has spent the past sev
Page 259 and 260: 11 Debugging Those familiar with CO
Page 261 and 262: 4 3 5 2 6 1 0 7 8 You can pass opti
Page 263 and 264: 3 4 0 2 1 Of course you may want to
Page 265 and 266: 12 Defining styles Since the integr
Page 267 and 268: color=gray, contrastcolor=gray, sty
Page 269 and 270: def right_menu_button (expr nn, rr,
Page 271 and 272: \Topic {Edward R. Tufte} \input tuf
Page 273 and 274: A Few Nice Quotes A Simple Style De
Page 275 and 276: 13 A few applications For those who
Page 277 and 278: vardef spring (expr a, b, w, h, n)
Page 279 and 280: There is a numeric constant labelof
Page 281 and 282: text text text text text text text
Page 283 and 284: p := fullcircle scaled (2*length(lo
Page 285 and 286: These definitions of anglebetween a
Page 287 and 288: Because in most cases we want the l
Page 289 and 290: γ δ β ɛ α ζ δ γ β ɛ metho
Page 291 and 292: There are for sure more (efficient)
Page 293 and 294: The next circle that we draw shows
Page 295 and 296: popcurrentpicture ; enddef ; Here,
Page 297 and 298: draw (u,i) -- (2u,i) withcolor .5wh
Page 299 and 300: Figure 13.4 Koffka's examples of ma
Page 301 and 302: \startbuffer[a] def start_everythin
Page 303 and 304: pointC := circleA intersectionpoint
Page 305 and 306: 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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