% \iffalse
% +AMDG  This document was begun on 25 May 11EX, the feast
% of St. Mary Magdalen de Pazzi, and it is humbly dedicated
% to her and to the Immaculate Heart of Mary for their
% prayers, and to the Sacred Heart of Jesus for His mercy.
% 
% This document is copyright 2014 by Donald P. Goodman, and is
% released publicly under the LaTeX Project Public License.  The
% distribution and modification of this work is constrained by the
% conditions of that license.  See
% 	http://www.latex-project.org/lppl.txt
% for the text of the license.  This document is released
% under version 1.3 of that license, and this work may be distributed
% or modified under the terms of that license or, at your option, any
% later version.
% 
% This work has the LPPL maintenance status 'maintained'.
% 
% The Current Maintainer of this work is Donald P. Goodman
% (dgoodmaniii@gmail.com).
% 
% This work consists of all files listed in drmfilelist.txt.
% \fi

% \iffalse
%<package>\NeedsTeXFormat{LaTeX2e}[1999/12/01]
%<package>\ProvidesPackage{drm}[2015/01/01 v4.1 support for drm fonts]
%<*driver>
\documentclass{ltxdoc}

\usepackage[absolute]{textpos}
\usepackage{parcolumns}
\usepackage{doc}
\usepackage{array}
\usepackage{lettrine}
	\setcounter{DefaultLines}{3}
	\setlength{\DefaultFindent}{2pt}
	\renewcommand{\LettrineFontHook}{\color{red}}
\usepackage{url}
\usepackage{booktabs}
\usepackage{supertabular}
\usepackage{longtable}
\usepackage{fetamont}
\usepackage{spverbatim}
\usepackage[greek,english]{babel}
\languageattribute{greek}{polutoniko}
\usepackage[colorlinks]{hyperref}
\usepackage{dozenal}
\usepackage[typeone]{drm}
\usepackage{makeidx}
\EnableCrossrefs
\PageIndex
\CodelineNumbered
\RecordChanges
\makeindex
\DoNotIndex{\?,\{,\},\|,\DeclareFontFamily,\DeclareFontShape,
	\DeclareMathAccent,\DeclareMathAlphabet,\DeclareMathDelimiter,
	\DeclareMathSymbol,\DeclareMathVersion,\DeclareSymbolFont,\def,
	\drmsym,\encodingdefault,\familydefault,\fontencoding,\fontfamily,
	\fontseries,\fontshape,\hfil,\hbox,\mathalpha,\mathclose,
	\mathopen,\mathord,\mathversion,\mp,\nabla,\nbshortroman,
	\RedefineMRmdclxvij,\relax,\renewcomand,\RequirePackage,
	\selectfont,\SetMathAlphabet,\SetSymbolFont,\drmsymbolredef,
	\nodefaultfalse,\nodefaultmathfalse,\nodefaultmathtrue,\nodefaulttrue,
	\nodefaulttextfalse,\nodefaulttexttrue,\noindent,\numexpr,
	\acute,\addtolength\advance,\backslash,\baselineskip,
	\char,\counterA,\counterB,\DeclareOption,\ProcessOptions,
	\drmmathlets,\symbolsonlytrue,\if,\else,\fi,\ifnum,\fi,\ifdim,\fi,
	\symbolsonlyfalse,\fontsize,\newif,\newcount,
	\loop,\iter,\let,\renewcommand,\setbox,\setlength,\the,\vss,
	\vskip,\vbox,\ifnodefault,\fi,\ifnodefaulttext,\fi,
	\ifnodefaultmath,\fi,\ifsymbolsonly,\fi,\newlength,
	\counterA,\counterB,\newcount,\r@@t,\z@,\DeclareMathRadical,
	\DeclareRobustCommand,\bBigg@,\@ifnextchar,\@sqrt,\@makefnmark,
	\@thefnmark,\catcode,\active,\Q}

\begin{document}
\DocInput{drm.dtx}
\end{document}
%</driver>
% \fi
%
% \title{The \texttt{drm} Font Package, v4.1}
% \author{Donald P.\ Goodman III}
% \date{\today}
%
% \maketitle
% \begin{abstract}
% The |drm| package provides access to the DRM (Don's
% Revised Modern) family of fonts, which includes a variety
% of optical sizes in Roman, italic, and small caps, along
% with a set of symbols and ornaments.  It is intended to be
% a full-body text font, but its larger sizes can also be
% used for simple display purposes, and its significant body
% of symbols can stand on its own.  It comes complete with
% textual (``old-style'') and lining figures, and even has
% \emph{small-caps figures}, along with superior and
% inferior figures.  It also comes with extensible
% decorative rules to be used with ornaments from itself or
% other fonts, along with an extremely flexible ellipsis
% package.  Decorative initials are also provided by means
% of \MP\ macros and superimposed figures; these are
% flexible in color, size, and style.
% \end{abstract}
% 
% \tableofcontents
% 
% \section{Introduction}
% \label{sect:intro}
%
% \lettrine{A}{fter some time} of involvement with \TeX\ and \LaTeX\,
% your author finally bothered to go read \textit{The \TeX
% book} and \textit{The \MF book}.  This latter closes,
% of course, with Donald E.\ Knuth's famous exhortation to
% ``\textsc{Go forth} now and create \textsl{masterpieces of
% digital typography!''}  This call to arms stirred a longing to actually
% do so in my soul.
%
% I had some experience with the \MF\ language through
% my work with \MP, so I thought I might try my hand at
% it.  I started in fits and stops some years ago, and only
% a few months ago took up the cause again in earnest.  I
% found that, as Knuth also warned, 
%
% \begin{quote}\textsc{Warning}:  Type design can be
% hazardous to your other interests.  Once you get hooked,
% you will develop intense feelings about letterforms; the
% medium will intrude on the messages that you read.  And
% you will perpetually be thinking of improvements to the
% fonts that you see everywhere, especially those of your
% own design.\end{quote}
%
% Truer words were never spoken.
%
% This document is typeset in accordance with the
% \textsc{docstrip} utility for automatically extracting
% package code and documentation.
%
% \section{License(s)}
%
% \lettrine{T}{he \TeX\ and \LaTeX\ code} in this package is
% licensed under the \LaTeX\ Project Public License v1.3c,
% the details of which can be found in Appendix \ref{lppl}
% on page \pageref{lppl}.  It's a legal document, and bears
% all the concomitant complications of such.  The basic
% import is that you can use and distribute these files as
% you will, provided only that you do not restrict their use
% by their recipients; and that you can even modify them as
% you will, provided that if you distribute your
% modifications, you do so under a different name.
%
% The fonts themselves are licensed under the SIL Open Font
% License, v1.1, the details of which can be found in
% Appendix \ref{sil} on page \pageref{sil}.  It's a less
% complex legal document, but a legal document all the same.
% The basic import is that you can't sell the fonts all by
% themselves (why anyone would pay for them anyway is beyond
% me, but there it is); you can distribute original or
% modified versions of the fonts otherwise however you wish,
% as long as you keep the copyright notice and license with
% it; and if you distribute a modified version, that you do
% so under a different name; that you not use the name of
% the font designer to promote a modified version; and that
% any modified versions of the fonts must be kept under the
% same license.
%
% Finally, the software I used to build things, which is
% very simple and mostly uninteresting stuff, is also made
% available, under the GNU General Public License v3.  This
% is sufficiently well-known that it's not duplicated in
% this document; but the text is, of course, included in
% the distribution.
%
% That said, I'm pretty easy-going about this sort of thing;
% so if for some reason the above terms don't suit you, feel
% free to contact me and see if we can work something else
% out.  But honestly, the terms of these licenses are
% more than fair, and it's hard for me to see a reason to
% depart from them.
%
% \section{Usage}
% \label{sect:usage}
%
% \subsection{Basic Usage}
% \label{sub:basicusage}
%
% Using the DRM fonts is beyond easy; just include the
% following in your preamble:
%
% \begin{quote}
% |\usepackage{drm}|
% \end{quote}
%
% And you're done!  This makes the DRM fonts the default for
% your document, and defines appropriate commands for using
% them.  I've made every effort to make using DRM as
% unsurprising as possible, so the commands you'd use to
% change sizes, styles, shapes, and so forth should all work
% as expected.  That said, there are some unusual shapes and
% options available, and these are explained below.
%
% You do \emph{not} need to load |textcomp|; all those
% symbols and more are available from |drm|.
%
% \subsection{Package Options}
% \label{sub:packopt}
%
% DRM doesn't offer too many options, because too many
% aren't really needed; but it does allow some control over
% what defaults it resets.
%
% \begin{description}
% \item[typeone]  \DescribeMacro{typeone}The |typeone|
% option will probably be used most of the time that |drm|
% itself is used; it forces |drm| to use un-rasterized
% outlines rather than bitmapped pk files, letting the pdf
% viewer do the rendering.  Given that most pdf viewers have
% an awfully hard time decently displaying prerendered
% bitmap fonts, the |typeone| option will often be useful.
% \item[nodefault] \DescribeMacro{nodefault}The |nodefault|
% option means that |drm| will not change any of the
% defaults of the document; that is, loading |drm| with the
% |nodefault| option should have no effect whatsoever on the
% appearance of your document.  The fonts are defined,
% though, so you can use them if you decide you want to.
% Symbols will \emph{not} be redefined.
% \item[nodefaulttext] \DescribeMacro{nodefaulttext}The
% |nodefaulttext| option means that text fonts are
% \emph{not} redefined but math fonts \emph{are}.  Symbols
% will \emph{not} be redefined.
% \item[nodefaultmath] \DescribeMacro{nodefaultmath}The
% |nodefaultmath| option means that text fonts \emph{are}
% redefined but math fonts are \emph{not}.  Symbols
% \emph{will} be redefined.
% \item[symbolsonly] \DescribeMacro{symbolsonly}The
% |symbolsonly| option defines all the commands for the
% symbols (note that this may overwrite certain default command names,
% like |\textcopyright|; if you need these undefined, load
% |textcomp| \emph{after} |drm|).
% \end{description}
%
% The default is that none of these are selected; that is,
% the default is that both text and math fonts, along with
% symbols, are redefined to be DRM.  Commands which are
% font-independent, like |\tulipframe| and |\extrule|, are
% always defined when the package is loaded.  Also, the
% fonts themselves are always defined, so they can be
% accessed directly even if they are not the default.
%
% Note that even if symbols are not redefined, they are
% still available directly through the
% \DescribeMacro{\drmsym}|\drmsym| command.
% This command takes one argument, typically a |\char|
% directive, which will be the decimal, octal (if preceded
% by |'|), or hexadecimal (if preceded by |"|) position of
% the desired symbol in the font.  E.g.:  
%
% \hbox to\linewidth{%
%	\hfil|\drmsym{\char'117}|\hfil|\drmsym{\char"4F}|\hfil%
%	|\drmsym{\char79}|\hfil}
%
% \noindent yields
%
% \hbox to\linewidth{%
%	\hfil\drmsym{\char'117}\hfil\drmsym{\char"4F}\hfil%
%	\drmsym{\char79}\hfil}
%
% \subsection{Interaction with Other Packages}
% \label{sub:interpack}
%
% As far as your author has been able to tell, |drm| has no
% adverse reactions with any other packages.  A few notes
% are probably appropriate, however.
%
% \DescribeMacro{textcomp}You do \emph{not} have to load
% |textcomp| when you're loading |drm|; |drm| defines all
% the symbols in |textcomp|, and then some, allowing access
% to them with the same commands.  This is the |drmsym|
% font, which is encoded, like the |textcomp| font, as TS1.
% If you're not loading the symbols, though (e.g., you've
% loaded |drm| with options |nodefault| or |nodefaulttext|),
% you may still want to load |textcomp|.
%
% \DescribeMacro{lettrine}The |lettrine| package is used to
% typeset large dropped capitals at the beginning of
% paragraphs; it's an extraordinarily flexible and
% well-designed package.  |drm| works just fine with it;
% however, the proportions of the letters make a small
% tweak advisable.  If you'll be using lettrines larger than
% two lines high, the following will be helpful:
%
% \hbox to\linewidth{\hfil|\setlength{\DefaultFindent}{2pt}|\hfil}
%
% \noindent This will prevent your text from bumping into
% your lettrine.
%
% \DescribeMacro{greek-fontenc}The |greek-fontenc| package
% must be installed for |drm| to work properly.
%
% \DescribeMacro{cbfonts-fd}The |cbfonts-fd| package
% must also be installed for |drm| to work properly.
%
% \subsection{Further Work Needed}
% \label{sub:further}
%
% While I'm quite happy with DRM right now, there are a few
% notable places where it needs some additional work.
%
% \begin{description}
% \item[Kerning]  The kerning is sometimes suboptimal.
% There really isn't much else to say about this.  For
% most of the fonts, the kerning is reasonably good (at
% least, in my opinion), but for upright italic, boldface,
% and occasionally small and titling caps, I do still find
% lacun\ae\ in my handling of certain kerning pairs.
% \item[Internal Code]  While the code is parameterized
% enough that, for example, boldfacing was a relatively
% simple process, it could use some improvement in this.
% Also, some code was repeated that would surely be better
% off included in macros, especially the placing of accents.
% \item[Decorative Initials]  I love, love, \emph{love}
% decorative initials, and want DRM to have them.  But
% writing them is a \emph{lot} of work.  I decided I wanted
% the fonts as they stand done before I get to work on
% those; but it's still further work that needs to happen.
% \item[More Ornaments]  I'm pretty happy with what
% ornaments I've designed for DRM, but it needs more of
% them.  A full, 8-bit ornamental font is in the works (the
% decorative initials will likely be A--Z in this font), but
% designing these is a similarly large amount of work, so
% it's still on the burners.
% \item[Greek Fonts]  DRM badly needs real Greek fonts.
% After I did the math fonts, Greek fonts seemed like a
% short step; but now I really need to add italic and
% boldface versions, and optically size the upright ones.
% \end{description}
%
% In addition to these specific needs, font metrics may
% still change, though only slightly, and shapes are subject
% to tweaking here and there.  But even now, the DRM fonts
% are usable, reasonably complete, and (in my view, at
% least) attractive.
%
% \section{About the DRM Fonts}
%
% So I've been plumbing the depths of alphabet design, and
% having a great time doing it.  The result is what you see
% before you, the DRM fonts.
%
% \subsection{About the Fonts}
% 
% They're not \textit{modern}, per se, but they do have
% modern characteristics, most especially the distinction
% between thick and thin strokes and the vertical
% orientation.  They have a number of old-style
% characteristics, as well, though, like the aforementioned
% ``Q'' tail, the relatively prominent serifs, and the
% slight but still present brackets.
%
% Overall, they're fairly dark fonts on average, as well as
% fairly wide.  To my eye, this makes them ideal for reading
% long passages.
%
% They have some unusual features.  For example, they have not
% only the standard run of f-ligatures (fi, fl, ff, ffi,
% ffl), but also some unusual f-ligatures (ft, fj), as well
% as a non-f-ligature (Th).  Some larger-size examples of
% the ligatures can be found in Table \ref{table:ligs}.  DRM 
% also contains some unusual shapes, such as \textui{upright 
% italic} and \texttc{titling caps}\index{titling caps}.
%
% \begin{table}
% \begin{center}\setlength{\extrarowheight}{9pt}
% \begin{tabular}{>{\Large}c>{\Large\itshape}c
%	>{\Large}c>{\Large\itshape}c
%	>{\Large}c>{\Large\itshape}c}
% \toprule
% Roman & Italic & Roman & Italic & Roman & Italic \\
% \midrule
% fi & fi & ff & ff & fl & fl \\
% fj & fj & ffi & ffi & ffl & ffl \\
% ft & ft & Th & Th & {} & {} \\
% \bottomrule
% \end{tabular}
% \caption{Ligatures in the DRM fonts.}
% \label{table:ligs}
% \end{center}
% \end{table}
%
% \subsection{Alternate Glyphs}
%
% While this section is titled in the plural, there is at
% present only one such:
% \DescribeMacro{\drmshortq}|\drmshortq|, which gives us
% ``\drmshortq'' rather than ``Q.''  This is mostly useful
% for situations in which the ``Q'' is followed by some
% character with a descender (say, ``\drmshortq p'' as
% opposed to ``Qp''), or when it is being used as a dropped
% capital and the extended tail would overwrite the text.
% (An enlarged dropped capital might have a tail
% underscoring the entire paragraph, which might actually
% look attractive.)
%
% If for some reason you'd like to use ``\drmshortq'' all
% the time, and consign the admittedly somewhat baroque
% ``Q'' to the dustbin, you can do so by issuing the
% following commands:
%
% \begin{center}
% |\catcode`\Q=\active\def Q{\drmshortq}|
% \end{center}
%
% Note that this involves some deep \TeX\ magic, and command
% names containing the character ``Q'' will be broken by
% this.  Fortunately, such commands are few and far between;
% |drm| does not contain any.
%
% \subsection{Font Families}
%
% DRM contains a full set of the normal font families you'd
% expect:  roman, bold, italic, small caps, and so forth.
% But it also contains some shapes that are rather unusual,
% as well as a wide variety of sizes, forms, and weights
% capable of filling most needs.
%
% \subsubsection{Optical Sizing}
%
% The advent of digital fonts made many typographers lazy.
% Previously, of course, a printer could only print fonts in
% sizes that he had; each size had to be separately cut and
% designed.  Digital fonts seemed to relieve this problem;
% now we can simply scale up or down, and only design a
% single size!  Experience has shown, however, that this
% produces suboptimal results, as Table \ref{tab:optsize}
% demonstrates.
%
% \begin{table}[htbp]
% \hbox to\linewidth{%
% 	\hfil%
% 	\Large Fourteen point font is different%
% 	\hfil%
% }%
% \hbox to\linewidth{%
% 	\hfil%
% 	\font\scalio=drm7 at14pt\scalio from scaled seven point font.%
% 	\hfil%
% }%
% \caption{Scaling and Optical Sizing Compared}
% \label{tab:optsize}
% \end{table}
%
% The human eye, as it turns out, does not perceive the
% world, least of all letterforms, as geometrically scaled
% versions of larger or smaller shapes.  For example, at
% small point sizes the eye tends to run adjacent strokes
% together, so proportionally wider letters and increased
% letterspacing are appropriate in smaller sizes but not in
% larger.  For another example, strokes often overlap the
% technical top or bottom lines because a curved line will
% appear to be lower than a straight line at the same
% height.  This effect diminishes at larger sizes; so this
% overshoot might be zero at double pica (twenty-four
% point), still significant at pica (twelve-point), and
% quite large at six-point.  If we merely scaled the six
% point to get our twenty-four point, this overshoot would
% make the curved strokes look comically larger than the
% straight ones; if we did the opposite, then our curved
% letters would seem noticeably shorter than our straight
% ones.
%
% The only real solution to this is to use \emph{optical
% sizes}; that is, have a reasonable set of sizes which are
% designed for use at that particular size.  \LaTeX\
% (largely transparently to the user, thanks to the magic of
% NFSS) will then select the closest optical size and scale
% as necessary from that.  This minimizes the effects of
% scaling on the appearance of the font, and gives vastly
% superior results.
%
% \begin{table}[htbp]
% \begin{center}\footnotesize
% \begin{tabular}{lp{0.2\textwidth}p{0.2\textwidth}p{0.2\textwidth}}
% \toprule
% Point & \multicolumn{2}{c}{Traditional Name} &
%	DRM \\
% {} & American & British & {} \\
% \midrule
% 3 & Excelsior & Minikin & |\excelsior|, |\minikin| \\
% 4 & Brilliant & {} & |\brilliant| \\
% 4.5 & Diamond & {} & |\diamond| \\
% 5 & Pearl & {} & |\pearl| \\
% 5.5 & Agate & Ruby & |\agate|, |\ruby| \\
% 6 & Nonpareille & {} & |\nonpareille| \\
% 6.5 & Minionette & Emerald & |\minionette|, |\emerald| \\
% 7 & Minion & {} & |\minion| \\
% 8 & Brevier, Petit, small text & {} & |\brevier|,
%	|\petit|, |\smalltext| \\
% 9 & Bourgeois; Galliard & {} & |\bourgeois|,
%	|\galliard| \\
% 10 & Long Primer; Corpus; Garamond & {} &
%	|\longprimer|, |\corpus|, |\garamond| \\
% 11 & Small Pica; Philosophy & {} & |\smallpica|,
% 	|\philosophy| \\
% 12 & Pica & {} & |\pica| \\
% 14 & English; Mittel; Augustin & {} & |\english|,
% |\mittel|, |\augustin| \\
% 16 & Columbian & Two-line Brevier & |\columbian|,
% |\twolinebrevier| \\
% 18 & Great Primer & {} & |\greatprimer| \\
% 20 & Paragon & {} & |\paragon| \\
% 21 & Double Small Pica & {} & |\doublesmallpica| \\
% 22 & Double Small Pica & Double Pica &
% |\doublesmallpicaus|, |\doublepicabrit| \\
% 24 & Double Pica & Two-line Pica & |\doublepica|,
% |\twolinepica| \\
% 28 & Double English & Two-line English & |\doubleenglish|, 
% |\twolineenglish| \\
% 30 & Five-line Nonpareil & {} & |\fivelinenonpareil| \\
% 32 & Four-line Brevier & {} & |\fourlinebrevier| \\
% 36 & Double Great Primer & Two-line Great Primer &
% |\doublegreatprimer|, |\twolinegreatprimer| \\
% 44 & Meridian & Two-line Double Pica; Trafalgar &
% |\meridian|, |\twolinedoublepica|, |\trafalgar| \\
% 48 & Canon; Four-line & {} & |\canon|, |\fourline| \\
% 60 & Five-line Pica & {} & |\fivelinepica| \\
% 72 & Inch & {} & |\inch| \\
% \bottomrule
% \end{tabular}
% \caption{Traditional size names, both American and
% British, with their corresponding point sizes and DRM
% command names.}
% \label{tab:fontsizes}
% \end{center}
% \end{table}
%
% DRM offers a reasonable selection of optical sizes, at 6-,
% 7-, 8-, 9-, 10-, 11-, 12-, 14-, 17-, and 24-point sizes in
% roman, italic, slanted, small caps, titling
% caps\index{titling caps}, and upright italic.  This
% variety should be sufficient for the vast majority of
% needs.
%
% However, traditional printing has developed a vast array
% of standard sizes, with the quaint, colorful names that
% always go with traditional crafts.  Setting text in
% Brevier Roman or Long Primer Italic means something very
% specific.  \LaTeX\ only offers a few default font
% size commands (e.g., |\small|, |\normalsize|, etc.), and
% DRM leaves those unchanged, as users expect specific
% things to happen when they issue those commands.  However,
% DRM does offer those traditional size names as commands,
% as well, giving quite a bit more breadth in font size
% choice than the default before one must resort to explicit
% |\fontsize| commands.  Table \ref{tab:fontsizes} on page
% \pageref{tab:fontsizes} lists these commands by name; where
% there is a name unique to British typesetting that differs
% from the American name, both are offered as equivalents.
%
% \subsubsection{Small Caps}
%
% In the first place, it's important to have what
% typographers call ``real'' small caps, not ``faked'' small
% caps.  There is a real and noticeable difference between
% the two.  Real small caps are designed for a particular
% size; the stroke widths match, the spacing is appropriate,
% and so forth.  Faked small caps are produced merely by
% scaling down normal capital letters for a given size,
% which produces inferior results.  The two types are
% compared in Table \ref{tab:smallcaps}.
%
% \begin{table}[htbp]
% \hbox to\linewidth{\hfil%
% \LARGE\textsc{These are real small caps.}
% \hfil}%
% \vskip2em%
% \hbox to\linewidth{\hfil%
% \LARGE{T\large HESE ARE FAKED SMALL CAPS.}
% \hfil}%
% \caption{Real and faked small caps compared.}
% \label{tab:smallcaps}
% \end{table}
%
% Plainly, the results of real small caps are far superior,
% and faked ones should only be employed when the
% typographer has no small caps available, and possibly
% not even then.
%
% \index{small caps}\index{small caps>petite small caps}
% \index{small caps>and titling caps, difference between}
% \index{titling caps>and small caps, difference between}
% DRM has, of course, a full set of real small cap fonts,
% which are appropriately scaled.  But DRM goes even further
% than this, offering both \emph{small caps} and
% \emph{petite small caps}.
% \index{petite small caps>small caps}
% \index{petite small caps>and titling caps}  DRM, though, considers petite
% small caps to be the normal type, and therefore refers to
% these as \emph{small caps} and \emph{titling
% caps}.\index{titling caps}\index{small caps>titling caps}  The
% distinction between these two probably bears some
% explanation.
%
% In Anglo-American typography small caps are
% typically a bit larger than the ex-height; in other
% countries, they are typically equal to the
% ex-height.\footnote{These are sometimes called
% \textit{petite small caps} among Anglo-American
% typographers.}  I see advantages in both approaches.
% So-called ``petite'' small caps look great in running text
% but seem rather squashed in titles and headings; larger
% small caps look better in titles and headings (they
% maintain the gravity of all-caps without the impression of
% shouting, a rather common impression here in the Internet
% age) but are simply too large to blend well with normal
% lowercase text.  So DRM offers both; \textsc{normal small
% caps}, accessed via the normal \LaTeX\ |\textsc| and
% |\scshape| commands, are ``petite'' small caps;
% Anglo-American large small caps are available as
% \texttc{titling small caps}, via the commands
% |\texttc|\DescribeMacro{\texttc}\ and
% |\tcshape|\DescribeMacro{\tcshape}.  (These stand,
% transparently enough, for ``titling caps.'')  An example
% of the difference, which may give further ideas for the
% appropriate uses for each, is in Table
% \ref{table:littlecaps}.
%
% \begin{table}
% \begin{center}
% \begin{tabular}{>{\centering\arraybackslash}p{0.48\textwidth}
%	>{\centering\arraybackslash}p{0.48\textwidth}}
% \LARGE\texttc{The Adventures of Robinson Crusoe} &
%	\LARGE\textsc{The Adventures of Robinson Crusoe} \\
% \texttc{Titling Caps} &
%	\textsc{Small Caps} \\
% \end{tabular}
% \caption{Small caps and titling caps compared.}
% \label{table:littlecaps}
% \end{center}
% \end{table}
%
% Both small caps and titling caps come in \emph{italic}
% (really simply \textsl{slanted}) varieties; these are
% accessed via 
% \DescribeMacro{\textitsc}|\textitsc| and 
% \DescribeMacro{\textittc}|\textittc| (or 
% \DescribeMacro{\itscshape}|\itscshape| and 
% \DescribeMacro{\ittcshape}|\ittcshape|).  However, it
% should be noted that both these font shapes are designed
% for emphasizing text, as is slanting; so while it's
% perfectly possible to \textitsc{slant your small
% caps} and \textittc{italicize your titling caps},
% this really should be done with great caution.
%
% \subsubsection{Slanted, Italic, and Upright Italic}
%
% DRM also offers the usual \emph{italic} type, typically
% used for titles of certain types of works, emphasis, and
% similar functions; and the \textsl{slanted} type, which is
% usually simply a poor-man's italic in fonts which don't
% have a real italic, but occasionally does find its uses in
% full-featured fonts.
%
% Non-typographers often think that italic type is simply
% normal type slanted to the right, but that's not
% really the case.  A comparison is given in Table
% \ref{tab:slantedtypes}.
%
% \begin{table}[htbp]
% \hbox to\linewidth{\hfil%
% \Large\textsl{This is slanted text.}
% \hfil}%
% \vskip2em%
% \hbox to\linewidth{\hfil%
% \Large\textit{This is italic text.}
% \hfil}%
% \caption{Slanted and italic text compared.}
% \label{tab:slantedtypes}
% \end{table}
%
% As Table \ref{tab:slantedtypes} shows, true italic is much
% more than simply slanted roman.  Many of the letterforms
% are quite different; the two-story ``a'' becomes a
% one-story ``\textit{a},'' the straight ``k'' becomes a
% curved or (in DRM's case) looped ``\textit{k},'' the
% double-looped ``g'' becomes a single-looped
% ``\textit{g},'' and so forth.
%
% So DRM offers true italic, often with some very ornate
% and, in the author's opinion, beautiful letterforms.  The
% ``\textit{Q}'' and ``\textit{J}'' and particular favorites
% of his, but the somewhat unusual looped ``\textit{k}'' and
% curled ``\textit{h},'' along with some other shapes like
% ``\textit{2}'' and ``\textit{3},'' are also interestingly
% different from most other fonts, as well as visually
% striking in their own right.
%
% DRM also offers \textui{upright italic}, a face with the
% italic letterforms but not slanted at all.  Some fonts
% have offered this as a difficult-to-access novelty, but as
% far the author knows DRM is the only one to offer it as a
% first-class citizen, accessed in the same way and just as
% easily as the more usual slanted italic shape.  It is
% accessed via the commands |\textui|\DescribeMacro{\textui}\ and
% |\uishape|\DescribeMacro{\uishape}.  This shape is not
% commonly used in running text; it remains to be seen
% whether this is due to its being not useful, or simply to
% its being rarely easily available.
%
% Your author can see certain uses for it; for example, when
% some font distinction is needed but no connotation of
% emphasis is desired, as in book titles.  In any case, DRM
% makes it easy to use in the event that it is wanted.
%
% \subsubsection{Weights}
% \label{subsub:weights}
%
% \textit{Weight} is the typographical term for what most
% folks call \emph{boldface} type; however, the dimension
% can go much deeper than that.  Fonts can be
% \textl{lighter than surrounding text} as well as
% \textbf{heavier}, and heavier weights can often be
% \textbf{extended in width as well as heavier in weight},
% or simply \textb{heavier in weight without increasing its
% width}.
%
% Some fonts take this to arguably absurd extremes, offering
% up to a dozen weights.  I've never seen much sense in
% this, and consequently haven't gone to these lengths.
% Instead, DRM offers three weights:  \textl{light}, normal,
% and \textb{bold}.  As noted, bold fonts are often wider
% than medium weights, and are referred to as \emph{bold
% extended}; DRM has a \textbf{bold extended}, as well.
% Lighter fonts are sometimes narrower, or \emph{condensed};
% \textl{DRM's light weight is not condensed, but rather
% normal width}.
%
% Light is achieved by |\textl|\DescribeMacro{\textl}\ and
% |\lseries|\DescribeMacro{\lseries}; boldface by
% |\textb|\DescribeMacro{\textb}\ and
% |\bseries|\DescribeMacro{\bseries}; bold extended by
% |\textbf|\DescribeMacro{\textbf}\ and
% |\bfseries|\DescribeMacro{\bfseries}.  Table
% \ref{tab:weights} shows the differences between these
% weights in twelve-point size.
%
% \begin{table}[htbp]\setlength{\extrarowheight}{8pt}
% \begin{tabular}{>{\large}c>{\large}p{0.7\linewidth}}
% |\lseries| & \textl{This sentence shows one of DRM's
%	weights.} \\
% |\mdseries| & \textmd{This sentence shows one of DRM's
%	weights.} \\
% |\bseries| & \textb{This sentence shows one of DRM's
%	weights.} \\
% |\bfseries| & \textbf{This sentence shows one of DRM's
%	weights.} \\
% \end{tabular}
% \caption{DRM's font weights compared.}
% \label{tab:weights}
% \end{table}
%
% One will probably note that bold extended is actually
% bolder than normal bold (that is, |\bfseries| is bolder
% than |\bseries|).  This is because the extra space means
% that it can be.  This is probably not the way it should
% be; but I think that people expect at least that much
% boldness when selecting |\bfseries|, so I decided to make
% it that way.
%
% Until v2.0, DRM did \emph{not} offer a bold italic or a
% bold small caps; this is because both italics and small
% caps are already meant to serve for emphasis, and bolding
% your already emphasized text is really a bad idea.  Bold
% italic I considered to be a particularly egregious
% typographical crime.
%
% However, after some conversations and one example in which
% bold italic was actually used well (a display; \emph{not}
% in running text), your author has tempered his aggressive
% stance and provided a bold italic, bold upright italic,
% and bold versions of both small and titling caps.  These
% are bold extended, and are available only in this one
% additional weight; this seemed appropriate given that
% their only appropriate use is displayed texts.  They are
% accessed simply by requesting either bold or italic, and
% then requesting the other, like so:
%
% \begin{center}
% \begin{tabular}{p{0.45\textwidth}p{0.45\textwidth}}
% \begin{spverbatim}\textbf{\textit{I hope you bold italic types are happy now}}\end{spverbatim} &
% \begin{spverbatim}\textui{\textbf{I hope you bold italic types are happy now}}\end{spverbatim} \\
% \textbf{\textit{I hope you bold italic types are happy now.}} &
% \textui{\textbf{I hope you bold italic types are happy now.}} \\
% \begin{spverbatim}\textsc{\textbf{Sometimes this might help with displays.}}\end{spverbatim} &
% \begin{spverbatim}\textbf{\texttc{Sometimes this might help with displays.}}\end{spverbatim} \\
% \textsc{\textbf{Sometimes this might help with displays.}} &
% \textbf{\texttc{Sometimes this might help with displays.}} \\
% \end{tabular}
% \end{center}
%
% There is still no bold italic small caps; I'll await an
% example of these being used appropriately before adding
% them.
%
% \subsection{Figures (Digits) (Numbers)}
% \label{sub:figures}
%
% Typographers typically call them ``figures'';
% mathematicians tend to prefer ``digits''; most folks
% simply call them ``numbers.''  Whatever we call them,
% there is a surprisingly large variety of ways to write
% them.
%
% There are, at the very least, seven separate kinds of
% figures:  textual, lining, tabular textual, tabular
% lining, small caps, superior, and inferior.  Small caps
% figures are for some reason rather rare, and strictly
% speaking there could be tabular and non-tabular versions
% of them, as well, but I've never encountered them.
%
% \emph{Textual figures}, also called \emph{old-style
% figures}, \emph{lowercase figures}, or even 
% \emph{medi\ae val figures}, are the ones that look sort 
% of\drmelip well, old-styled and lowercase.  They are
% centered on the ex-height, like lowercase letters, and
% some have ascenders, some descenders, and some neither,
% like lowercase letters.  They blend in with running text
% very well, whereas lining figures (which we'll get to in a
% moment) tend to stick out because they are all quite
% tall and often come in groups.  Most commonly, ``0,''
% ``1,'' and ``2'' have neither ascenders nor descenders;
% ``6'' and ``8'' have ascenders, and ``3,'' ``4,'' ``5,''
% ``7,'' and ``9'' have descenders; DRM follows this typical
% scheme in its roman types.  However, other systems have
% existed, particularly in France, where some famous fonts
% had an ascending rather than descending 3.  DRM has a
% non-typical set in its italic fonts, with a descending 3
% but an ascending 2:  \textit{0, 1, 2, 3,
% 4, 5, 6, 7, 8, 9}.
%
% Textual figures are the default in DRM in the roman and
% italic fonts.
%
% \emph{Lining figures}, also called \emph{titling figures}
% or \emph{modern figures}, line up at the baseline and all
% have a common height, typically something close to the
% height of capital letters or the ascenders of lowercase
% letters.  They look like this:  \liningnums{0123456789}.
% They're great when one wishes to draw extra attention to
% the figures, and practically mandatory when figures are
% being used with all caps; however, they throw off the
% color of the page and don't blend well with other running
% text.  In DRM, we get lining figures by using the
% \DescribeMacro{\liningnums}|\liningnums| command, which
% takes a single argument; namely, the number to be typeset
% in lining figures.  Each individual number can be accessed
% by command, as well, of the form |\liningzero|,
% |\liningone|, and so forth.
%
% Both of these types of figures can be \emph{tabular} or
% not.  This means, as a practical matter,
% \emph{monospaced}; that is, with tabular figures each
% digit takes up an identical horizontal space.  This is
% great for lining up numbers in columns, but produces
% rather bad spacing when used in running text.
%
% In DRM, the default textual (old-style) figures \emph{are
% not} tabular, while the lining figures \emph{are} tabular.
% It is possible to have tabular textual figures and
% proportional lining figures, but I've never seen much
% sense in either, as it seems that they defeat the purposes
% of their own particular form.
%
% DRM also has \emph{small-cap figures}, a relative rarity
% in the typographical world.  These are simply figures
% which match the style of the small caps fonts.  Neither
% textual nor lining figures work well with small caps;
% lining figure are too tall, and textual figures' ascenders
% and descenders don't fit with the relatively straight
% lines of small caps text.  So DRM has proportional
% (non-tabular), but short figures for small caps:
%
% \begin{center}
% \scshape\Huge Small caps 0123 figures.
% \end{center}
%
% Otherwise, it would like one of the following:
%
% \begin{center}
% \Huge\scshape Small caps \liningnums{0123} figures. \\
% Small caps \textup{0123} figures.
% \end{center}
%
% Neither of which looks very good.  There are similar
% digits for titling caps.  These are, of course, the
% defaults when using small or titling caps; if you need
% lining figures, you can still use |\liningnums|, and if
% you need textual figures, typeset them in normal roman
% text.
%
% Finally, DRM provides \emph{superior} and \emph{inferior}
% figures.  These are figures which are specially designed
% to appear in superscripted or subscripted text,
% respectively.  These avoid text color and spacing problems
% from forming superior figures merely from scaling and
% raising normal figures.  They look like the following:
%
% \begin{center}
% \LARGE\liningthree\textdrmsupfigs{0123456789} \\
% \liningthree\textdrminffigs{0123456789}
% \end{center}
%
% By default, in DRM (unless one of the |nodefault| options
% has been selected) footnote markers are made with superior
% figures.  Otherwise, superior figures must be selected
% with either \DescribeMacro{\drmsupfigs}|\drmsupfigs|, or
% the option with a single argument,
% \DescribeMacro{\textdrmsupfigs}|\textdrmsupfigs|.
% (Inferior numerals are selected with
% \DescribeMacro{\drminffigs}|\drminffigs| and the
% single-argument option,
% \DescribeMacro{\textdrminffigs}|\textdrminffigs|.)
% Inferior figures are typically useful for chemical
% formul\ae, but may conceivably find other uses, as well.
%
% These special superior figures do end up looking
% significantly better than merely superscripted-and-scaled
% footnote labels:
%
% \begin{center}
% \begin{tabular}{c|c}
% \LARGE\drmelip this fact.$^6$  As\drmelip & 
%	\LARGE\drmelip this fact.\textdrmsupfigs{6}  As\drmelip \\
% \end{tabular}
% \end{center}
%
% The superscripted and scaled version is too large, drawing
% more attention to itself than warranted (the purpose of a
% footnote is, after all, to provide citation without
% interrupting the flow of the text), not to mention that it
% protrudes above the height of the capitals and ascenders,
% making itself even more conspicuous; and the symbol itself
% is too thin, with lines almost spindly.  The superior
% figure, on the right, tops off at the height of the
% ascenders, and is specially designed to have lines of the
% same width as the body font.\footnote{Or as near as is
% possible and attractive, anyway; the conscious design is
% better than the automatic solution.}  This ensures an
% overall better appearance when these figures are used.
%
% Finally, as of v4.0, DRM offers \emph{real dozenal
% characters}.  In conjunction with the |dozenal| package
% (available, like |drm|, on CTAN), DRM will redefine the
% commands |\x| and |\e| to produce DRM dozenal characters,
% rather than the Computer Modernish characters of the
% |dozenal| package.  By default, these are old-style;
% lining dozenal figures are also available.
%
% \begin{center}\LARGE
% \begin{tabular}{ll}
% 0123456789\x\e0 & \textit{0123456789\x\e0} \\
% \textl{0123456789\x\e0} & \textb{0123456789\x\e0} \\
% \textbf{0123456789\x\e0} & \textbf{\textit{0123456789\x\e0}} \\
% \textui{0123456789\x\e0} & \textui{\textbf{0123456789\x\e0}} \\
% \textsc{0123456789\x\e0} & \texttc{0123456789\x\e0} \\
% \textbf{\textsc{0123456789\x\e0}} & \texttc{\textbf{0123456789\x\e0}} \\
% \textitsc{0123456789\x\e0} & \textittc{0123456789\x\e0} \\
% \liningthree\textdrmsupfigs{0123456789\x\e0} & 
% \liningthree\textdrminffigs{0123456789\x\e0} \\
% \end{tabular}
% \end{center}
%
% In all the dozenal fonts, the ``default'' ten and eleven
% characters are held in the |X| and |E| slots; this means
% old-style in the roman and italic fonts, in all weights,
% but lining in the rest.  In the roman and italic fonts, in
% all weights, lining figures are held in the |x| and |e|
% slots.
%
% \subsection{Symbols and Ornaments}
% \label{sub:symbols}
%
% One of DRM's strengths is its wide variety of symbols
% contained by default; rather than having to import
% separate fonts, or define macros to assemble common
% symbols out of their component parts, we can often simply
% use the symbols contained in DRM.
%
% Starting with the staples of traditional typography like
% the numero \DescribeMacro{\textnumero}(\textnumero) and
% the reference mark %
% \DescribeMacro{\textrefmark}(\textrefmark) to
% near-obsolete typesetting symbols like the asterism
% \DescribeMacro{\textasterism}(\textasterism) to more
% unique symbols like the international sign for radiation
% hazards \DescribeMacro{\textradiation}(\textradiation),
% DRM has something for most needs.
%
% \begin{center}
% \begin{longtable}{>{\Large}cp{0.4\textwidth}>{\raggedright\let\newline\\\arraybackslash}p{0.3\textwidth}}
% \toprule
% \multicolumn{3}{c}{Symbols of the DRM Font} \\
% \midrule
% \multicolumn{3}{c}{\itshape Religious Symbols} \\
% \midrule
% \textcrusadecross & |\textcrusadecross|\SpecialIndex{\textcrusadecross} & ``Crusader'' cross \\
% \textcrusadecrossoutline & |\textcrusadecrossoutline|\SpecialIndex{\textcrusadecrossoutline} &
% 	``Crusader'' cross in outline \\
% \textlatincross & |\textlatincross|\SpecialIndex{\textlatincross} & Latin cross \\
% \textlatincrossoutline & |\textlatincrossoutline|\SpecialIndex{\textlatincrossoutline} & Latin
% 	cross in outline \\
% \textgreekcross & |\textgreekcross|\SpecialIndex{\textgreekcross} & Greek cross \\
% \textgreekcrossoutline & |\textgreekcrossoutline|\SpecialIndex{\textgreekcrossoutline} & Greek
% 	cross in outline \\
% \textsaltirecross & |\textsaltirecross|\SpecialIndex{\textsaltirecross} & Saltire cross;
% 	cross of St.\ Andrew \\
% \textsaltirecrossoutline & |\textsaltirecrossoutline|\SpecialIndex{\textsaltirecrossoutline} &
% 	Saltire cross, cross of St.\ Andrew in outline \\
% \texteucharist & |\texteucharist|\SpecialIndex{\texteucharist} & Traditional
% 	representation of the Eucharist; chalice with Host and rays
% 	\\
% \textstardavid & |\textstardavid|\SpecialIndex{\textstardavid} & Traditional Star of
% 	David \\
% \textstardavidsolid & |\textstardavidsolid|\SpecialIndex{\textstardavidsolid} & Traditional
% 	Star of David, solid \\
% \textstardavidoutline & |\textstardavidoutline|\SpecialIndex{\textstardavidoutline} & 
% 	Traditional Star of David in outline \\
% \midrule
% \multicolumn{3}{c}{\itshape Genealogical Symbols} \\ 
% \midrule
% \textborn & |\textborn|\SpecialIndex{\textborn} & Symbol for born \\
% \textdied & |\textdied|\SpecialIndex{\textdied} & Symbol for died \\
% \textdivorced & |\textdivorced|\SpecialIndex{\textdivorced} & Symbol for divorced \\
% \textmarried & |\textmarried|\SpecialIndex{\textmarried} & Symbol for married \\
% \textleaf & |\textleaf|\SpecialIndex{\textleaf} & Leaf symbol \\
% \textmale & |\textmale|\SpecialIndex{\textmale} & Symbol for male \\
% \textfemale & |\textfemale|\SpecialIndex{\textfemale} & Symbol for female \\
% \midrule
% \multicolumn{3}{c}{\itshape Intellectual Property Symbols} \\ 
% \midrule
% \textregistered & |\textregistered|\SpecialIndex{\textregistered} & Registered mark \\
% \texttrademark & |\texttrademark|\SpecialIndex{\texttrademark} & Trademark sign \\
% \textservicemark & |\textservicemark|\SpecialIndex{\textservicemark} & Service mark sign \\
% \textsoundrecording & |\textsoundrecording|\SpecialIndex{\textsoundrecording} & Sound
% 	recording sign \\
% \textcopyright & |\textcopyright|\SpecialIndex{\textcopyright} & Copyright mark \\
% \textcopyleft & |\textcopyleft|\SpecialIndex{\textcopyleft} & Copyleft mark \\
% \midrule
% \multicolumn{3}{c}{\itshape Astronomical Symbols} \\ 
% \midrule
% \textsun & |\textsun|\SpecialIndex{\textsun} & Sun, Sol \\
% \textsunvar & |\textsunvar|\SpecialIndex{\textsunvar} & Variant Sun or Sol; with ray \\
% \textwaxcrescent & |\textwaxcrescent|\SpecialIndex{\textwaxcrescent} & Waxing crescent moon \\
% \textfullmoon & |\textfullmoon|\SpecialIndex{\textfullmoon} & Full moon \\
% \textwanecrescent & |\textwanecrescent|\SpecialIndex{\textwanecrescent} & Waning crescent moon \\
% \textnewmoon & |\textnewmoon|\SpecialIndex{\textnewmoon} & New moon \\
% \textmercury & |\textmercury|\SpecialIndex{\textmercury} & Mercury; Hermes \\
% \textearth & |\textearth|\SpecialIndex{\textearth}, |\textterra|\SpecialIndex{\textterra} & Earth, Terra \\
% \textearthvar & |\textearthvar|\SpecialIndex{\textearthvar},|\textterravar|\SpecialIndex{\textterravar} & Variant
% 	Earth, Terra \\
% \textmars & |\textmars|\SpecialIndex{\textmars} & Mars, Ares \\
% \textvenus & |\textvenus|\SpecialIndex{\textvenus} &  Venus, Aphrodite \\
% \textjupiter & |\textjupiter|\SpecialIndex{\textjupiter} & Jupiter, Jove, Zeus \\
% \textsaturn & |\textsaturn|\SpecialIndex{\textsaturn} & Saturn \\
% \texturanus & |\texturanus|\SpecialIndex{\texturanus} & Uranus \\
% \texturanusvar & |\texturanusvar|\SpecialIndex{\texturanusvar} & Variant Uranus \\
% \textneptune & |\textneptune|\SpecialIndex{\textneptune} & Neptune, Poseidon \\
% \textpluto & |\textpluto|\SpecialIndex{\textpluto} & Pluto \\
% \textplutovar & |\textplutovar|\SpecialIndex{\textplutovar} & Variant Pluto \\
% \textceres & |\textceres|\SpecialIndex{\textceres} & Ceres \\
% \textpallas & |\textpallas|\SpecialIndex{\textpallas} & Pallas \\
% \textjuno & |\textjuno|\SpecialIndex{\textjuno} &  Juno, Hera \\
% \textjunovar & |\textjunovar|\SpecialIndex{\textjunovar} & Variant Juno, Hera \\
% \textvesta & |\textvesta|\SpecialIndex{\textvesta} & Vesta \\
% \textvestavar & |\textvestavar|\SpecialIndex{\textvestavar} & Variant Vesta \\
% \textastraea & |\textastraea|\SpecialIndex{\textastraea} & Astr\ae a \\
% \textastraeavar & |\textastraeavar|\SpecialIndex{\textastraeavar} & Variant Astr\ae a \\
% \texthebe & |\texthebe|\SpecialIndex{\texthebe} & Hebe \\
% \textiris & |\textiris|\SpecialIndex{\textiris} & Iris \\
% \textaries & |\textaries|\SpecialIndex{\textaries}, |\textari|\SpecialIndex{\textari} & Aries \\
% \texttaurus & |\texttaurus|\SpecialIndex{\texttaurus}, |\texttau|\SpecialIndex{\texttau} & Taurus \\
% \textgemini & |\textgemini|\SpecialIndex{\textgemini}, |\textgem|\SpecialIndex{\textgem} & Gemini \\
% \textcancer & |\textcancer|\SpecialIndex{\textcancer}, |\textcnc|\SpecialIndex{\textcnc} & Cancer \\
% \textleo & |\textleo|\SpecialIndex{\textleo} & Leo \\
% \textvirgo & |\textvirgo|\SpecialIndex{\textvirgo}, |\textvir|\SpecialIndex{\textvir} & Virgo \\
% \textlibra & |\textlibra|\SpecialIndex{\textlibra}, |\textlib|\SpecialIndex{\textlib} & Libra \\
% \textscorpius & |\textscorpius|\SpecialIndex{\textscorpius}, |\textsco|\SpecialIndex{\textsco} & Scorpius \\
% \textsagittarius & |\textsagittarius|\SpecialIndex{\textsagittarius}, |\textsgr|\SpecialIndex{\textsgr} & Sagittarius \\
% \textcapricorn & |\textcapricorn|\SpecialIndex{\textcapricorn}, |\textcap|\SpecialIndex{\textcap} & Capricorn \\
% \textaquarius & |\textaquarius|\SpecialIndex{\textaquarius}, |\textaqr|\SpecialIndex{\textaqr} & Aquarius \\
% \textpisces & |\textpisces|\SpecialIndex{\textpisces}, |\textpsc|\SpecialIndex{\textpsc} & Pisces \\
% \textstar & |\textstar|\SpecialIndex{\textstar} & Star \\
% \textcomet & |\textcomet|\SpecialIndex{\textcomet} & Comet \\
% \textquadrature & |\textquadrature|\SpecialIndex{\textquadrature} & Quadrature \\
% \textopposition & |\textopposition|\SpecialIndex{\textopposition} & Opposition \\
% \textconjunction & |\textconjunction|\SpecialIndex{\textconjunction} & Conjunction \\
% \textascendingnode & |\textascendingnode|\SpecialIndex{\textascendingnode} & Ascending node \\
% \textdescendingnode & |\textdescendingnode|\SpecialIndex{\textdescendingnode} & Descending node \\
% \midrule
% \multicolumn{3}{c}{\itshape Currency Symbols} \\ 
% \midrule
% \textdollarsign & |\textdollarsign|\SpecialIndex{\textdollarsign} & Dollar sign \\
% \textolddollarsign & |\textolddollarsign|\SpecialIndex{\textolddollarsign} & Old-style dollar
% 	sign; double-slashed dollar sign \\
% \textcentsign & |\textcentsign|\SpecialIndex{\textcentsign} & Cent sign \\
% \textoldcentsign & |\textoldcentsign|\SpecialIndex{\textoldcentsign} & Old-style cent sign;
% 	diagonally slashed cent sign \\
% \textpoundsterling & |\textpoundsterling|\SpecialIndex{\textpoundsterling} & British pound
% 	sterling sign \\
% \textoldpoundsterling & |\textoldpoundsterling|\SpecialIndex{\textoldpoundsterling}, |\textlira|\SpecialIndex{\textlira} & Old-style
% 	British pound sterling sign; double-slashed British pound
% 	sterling sign; Italian lira sign \\
% \texteuro & |\texteuro|\SpecialIndex{\texteuro} & Euro sign \\
% \textyen & |\textyen|\SpecialIndex{\textyen} & Japanese yen sign \\
% \textbaht & |\textbaht|\SpecialIndex{\textbaht} & Thai baht sign \\
% \textcolon & |\textcolon|\SpecialIndex{\textcolon} & Costa Rican, Salvadoran colon sign \\
% \textdong & |\textdong|\SpecialIndex{\textdong} & Vietnamese dong sign \\
% \textflorin & |\textflorin|\SpecialIndex{\textflorin} & Florin sign \\
% \textguarani & |\textguarani|\SpecialIndex{\textguarani} & Uruguayan guarani sign \\
% \textnaira & |\textnaira|\SpecialIndex{\textnaira} & Nigerian naira sign \\
% \textpeso & |\textpeso|\SpecialIndex{\textpeso}, |\textruble|\SpecialIndex{\textruble} & Mexican peso sign; Russian ruble
% 	sign \\
% \textwon & |\textwon|\SpecialIndex{\textwon} & Won sign \\
% \textcurrency & |\textcurrency|\SpecialIndex{\textcurrency} & Generic currency \\
% \midrule
% \multicolumn{3}{c}{\itshape Roman Numerals} \\ 
% \midrule
% \romone & |\romone|\SpecialIndex{\romone} & Roman numeral one \\
% \romfive & |\romfive|\SpecialIndex{\romfive} & Roman numeral five \\
% \romten & |\romten|\SpecialIndex{\romten} & Roman numeral ten \\
% \romfifty & |\romfifty|\SpecialIndex{\romfifty} & Roman numeral fifty \\
% \romhundred & |\romhundred|\SpecialIndex{\romhundred} & Roman numeral hundred \\
% \romfivehundred & |\romfivehundred|\SpecialIndex{\romfivehundred} & Roman numeral hundred \\
% \romthousand & |\romthousand|\SpecialIndex{\romthousand} & Roman numeral thousand \\
% \romanize{1651} & |\romanize{1668}| & Convert Indo-arabic
% 	numeral to Roman numerals \\
% \midrule
% \multicolumn{3}{c}{\itshape Lining Numerals} \\ 
% \midrule
% \liningzero & |\liningzero|\SpecialIndex{\liningzero} & Lining numeral 0 \\
% \liningone & |\liningone|\SpecialIndex{\liningone} & Lining numeral 1 \\
% \liningtwo & |\liningtwo|\SpecialIndex{\liningtwo} & Lining numeral 2 \\
% \liningthree & |\liningthree|\SpecialIndex{\liningthree} & Lining numeral 3 \\
% \liningfour & |\liningfour|\SpecialIndex{\liningfour} & Lining numeral 4 \\
% \liningfive & |\liningfive|\SpecialIndex{\liningfive} & Lining numeral 5 \\
% \liningsix & |\liningsix|\SpecialIndex{\liningsix} & Lining numeral 6 \\
% \liningseven & |\liningseven|\SpecialIndex{\liningseven} & Lining numeral 7 \\
% \liningeight & |\liningeight|\SpecialIndex{\liningeight} & Lining numeral 8 \\
% \liningnine & |\liningnine|\SpecialIndex{\liningnine} & Lining numeral 9 \\
% \liningnums{3091} & |\liningnums{3091}| & Convert figures
%	into lining figures \\
% \midrule
% \multicolumn{3}{c}{\itshape Traditional and Innovative Typography} \\ 
% \midrule
% \textnumero & |\textnumero|\SpecialIndex{\textnumero} & Numero \\
% \textrefmark & |\textrefmark|\SpecialIndex{\textrefmark} & Reference mark \\
% \textasterism & |\textasterism|\SpecialIndex{\textasterism} & Asterism \\
% \textfeminineordinal & |\textfeminineordinal|\SpecialIndex{\textfeminineordinal} & Feminine
% 	Ordinal \\
% \textmasculineordinal & |\textmasculineordinal|\SpecialIndex{\textmasculineordinal} & Masculine
% 	Ordinal \\
% \textsupone & |\textsupone|\SpecialIndex{\textsupone} & Superscript 1; superior
% digit 1 \\
% \textsuptwo & |\textsuptwo|\SpecialIndex{\textsuptwo} & Superscript 2; superior
% digit 2 \\
% \textsupthree & |\textsupthree|\SpecialIndex{\textsupthree} & Superscript 3; superior
% digit 3\\
% \textpilcrowsolid & |\textpilcrowsolid|\SpecialIndex{\textpilcrowsolid} & Solid-lined
% 	pilcrow \\
% \textpilcrowoutline & |\textpilcrowoutline|\SpecialIndex{\textpilcrowoutline} & Outlined
% 	pilcrow \\
% \textsection & |\textsection|\SpecialIndex{\textsection} & Section mark \\
% \textdagger & |\textdagger|\SpecialIndex{\textdagger}, |\textdag|\SpecialIndex{\textdag}, |\dag|\SpecialIndex{\dag} & Dagger \\
% \textdbldagger & |\textdbldagger|\SpecialIndex{\textdbldagger}, |\textdbldag|\SpecialIndex{\textdbldag}, |\dbldag|\SpecialIndex{\dbldag} & 
% 	Double dagger \\
% \textpipe & |\textpipe|\SpecialIndex{\textpipe} & Pipe \\
% \textbrokenpipe & |\textbrokenpipe|\SpecialIndex{\textbrokenpipe} & Broken pipe \\
% \textrecipe & |\textrecipe|\SpecialIndex{\textrecipe} & Recipe mark \\
% \textintbang & |\textintbang|\SpecialIndex{\textintbang} & Interrobang \\
% \textopenintbang & |\textopenintbang|\SpecialIndex{\textopenintbang} & Opening interrobang \\
% \midrule
% \multicolumn{3}{c}{\itshape Text-mode Math Symbols} \\ 
% \midrule
% \textprime & |\textprime|\SpecialIndex{\textprime} & Single prime mark \\
% \textdoubleprime & |\textdoubleprime|\SpecialIndex{\textdoubleprime} & Double prime mark \\
% \texttripleprime & |\texttripleprime|\SpecialIndex{\texttripleprime} & Triple prime mark \\
% \textsqrt & |\textsqrt|\SpecialIndex{\textsqrt} & Square root sign; radical \\
% \textquarter & |\textquarter|\SpecialIndex{\textquarter} & One-quarter fraction,
% 	slanted \\
% \texthalf & |\texthalf|\SpecialIndex{\texthalf} & One-half fraction, slanted \\
% \textthreequarters & |\textthreequarters|\SpecialIndex{\textthreequarters} & Three-quarters
% 	fraction, slanted \\
% \textthird & |\textthird|\SpecialIndex{\textthird} & One-third fraction, slanted \\
% \texttwothirds & |\texttwothirds|\SpecialIndex{\texttwothirds} & Two-thirds fraction,
% 	slanted \\
% \textperbiqua & |\textperbiqua|\SpecialIndex{\textperbiqua}, |\textpermille|\SpecialIndex{\textpermille} & Perbiqua,
% 	permille, per thousand \\
% \textpertriqua & |\textpertriqua|\SpecialIndex{\textpertriqua}, |\textpertenmille|\SpecialIndex{\textpertenmille} &
% 	Pertriqua, per ten thousand \\
% \textequals & |\textequals|\SpecialIndex{\textequals} & Equals sign \\
% \textslash & |\textslash|\SpecialIndex{\textslash} & Forward slash \\
% \texttimes & |\texttimes|\SpecialIndex{\texttimes} & Multiplication; times \\
% \textdiv & |\textdiv|\SpecialIndex{\textdiv} & Division sign \\
% \textuparrow & |\textuparrow|\SpecialIndex{\textuparrow} & Upward-pointing arrow \\
% \textdownarrow & |\textdownarrow|\SpecialIndex{\textdownarrow} & Downward-pointing arrow \\
% \textleftarrow & |\textleftarrow|\SpecialIndex{\textleftarrow} & Left-pointing arrow \\
% \textrightarrow & |\textrightarrow|\SpecialIndex{\textrightarrow} & Right-pointing arrow \\
% \midrule
% \multicolumn{3}{c}{\itshape Warning Signs} \\ 
% \midrule
% \textradiation & |\textradiation|\SpecialIndex{\textradiation} & Radiation warning sign \\
% \textradiationnocircle & |\textradiationnocircle|\SpecialIndex{\textradiationnocircle} &
% 	Radiation warning sign, no enclosing circle \\
% \textbiohazard & |\textbiohazard|\SpecialIndex{\textbiohazard} & Biohazard warning sign \\
% \textbiohazardnocircle & |\textbiohazardnocircle|\SpecialIndex{\textbiohazardnocircle} &
% 	Biohazard warning sign, no enclosing circle \\
% \texthighvoltage & |\texthighvoltage|\SpecialIndex{\texthighvoltage} & High voltage warning
% 	sign \\
% \texthighvoltagenotriangle & |\texthighvoltagenotriangle|\SpecialIndex{\texthighvoltagenotriangle} &
% 	High voltage warning sign, no enclosing triangle \\
% \textgeneralwarning & |\textgeneralwarning|\SpecialIndex{\textgeneralwarning} & General
% 	warning sign \\
% \midrule
% \multicolumn{3}{c}{\itshape Bullets and Other Marks} \\ 
% \midrule
% \textbullet & |\textbullet|\SpecialIndex{\textbullet} & Solid circular bullet \\
% \textopenbullet & |\textopenbullet|\SpecialIndex{\textopenbullet} & Open circular bullet \\
% \textheart & |\textheart|\SpecialIndex{\textheart} & Solid heart \\
% \textopenheart & |\textopenheart|\SpecialIndex{\textopenheart} & Open heart \\
% \texteighthnote & |\texteighthnote|\SpecialIndex{\texteighthnote} & Eighth note \\
% \textdiamond & |\textdiamond|\SpecialIndex{\textdiamond} & Solid diamond; solid lozenge \\
% \textopendiamond & |\textopendiamond|\SpecialIndex{\textopendiamond}, |\textlozenge|\SpecialIndex{\textlozenge} & Open 
%	diamond; open lozenge \\
% \textdegree & |\textdegree|\SpecialIndex{\textdegree} & Degree symbol \\
% \textdegreec & |\textdegreec|\SpecialIndex{\textdegreec} & Degrees Celsius \\
% \texttilde & |\texttilde|\SpecialIndex{\texttilde}, |\tilde|\SpecialIndex{\tilde} & Tilde \\
% \midrule
% \multicolumn{3}{c}{\itshape Ornaments and Fleurons} \\ 
% \midrule
% \textrightupfleuron & |\textrightupfleuron|\SpecialIndex{\textrightupfleuron} &
% Rightward-pointing, upward fleuron \\
% \textrightdownfleuron & |\textrightdownfleuron|\SpecialIndex{\textrightdownfleuron} &
% Rightward-pointing, downward fleuron \\
% \textleftupfleuron & |\textleftupfleuron|\SpecialIndex{\textleftupfleuron} &
% Leftward-pointing, upward fleuron \\
% \textleftdownfleuron & |\textleftdownfleuron|\SpecialIndex{\textleftdownfleuron} &
% Leftward-pointing, downward fleuron \\
% \textupleftfleuron & |\textupleftfleuron|\SpecialIndex{\textupleftfleuron} &
% Upward-pointing, leftward fleuron \\
% \textuprightfleuron & |\textuprightfleuron|\SpecialIndex{\textuprightfleuron} &
% Upward-pointing, rightward fleuron \\
% \textdownrightfleuron & |\textdownrightfleuron|\SpecialIndex{\textdownrightfleuron} &
% Downward-pointing, rightward fleuron \\
% \textdownleftfleuron & |\textdownleftfleuron|\SpecialIndex{\textdownleftfleuron} &
% Downward-pointing, leftward fleuron \\
% \textsquaretulip & |\textsquaretulip|\SpecialIndex{\textsquaretulip} &
% Square of four tulips, facing up and down \\
% \textsquaretulipside &
% |\textsquaretulipside|\SpecialIndex{\textsquaretulipside} & Square of four tulips,
% facing left and right \\
% \textupdoubletulip & |\textupdoubletulip|\SpecialIndex{\textupdoubletulip} &
% Double tulips, facing upward \\
% \textdowndoubletulip &
% |\textdowndoubletulip|\SpecialIndex{\textdowndoubletulip} & Double tulips, facing
% downward \\
% \textrightdoubletulip &
% |\textrightdoubletulip|\SpecialIndex{\textrightdoubletulip} & Double tulips, facing
% righward \\
% \textleftdoubletulip &
% |\textleftdoubletulip|\SpecialIndex{\textleftdoubletulip} & Double tulips, facing
% leftward \\
% \textupleftcornertulip &
% |\textupleftcornertulip|\SpecialIndex{\textupleftcornertulip} & Single corner-facing
% tulip, for upper left corners \\
% \textuprightcornertulip &
% |\textuprightcornertulip|\SpecialIndex{\textuprightcornertulip} & Single corner-facing
% tulips, for  upper right corners \\
% \textlowleftcornertulip &
% |\textlowleftcornertulip|\SpecialIndex{\textlowleftcornertulip} & Single corner-facing
% tulips, for lower left corners \\
% \textlowrightcornertulip &
% |\textlowrightcornertulip|\SpecialIndex{\textlowrightcornertulip} & Single
% corner-facing tulip, for lower right corners  \\
% \textupsingletuliplong & |\textupsingletuliplong|\SpecialIndex{\textupsingletuliplong} & Single tulip,
% upward-facing \\
% \textdownsingletuliplong & |\textdownsingletuliplong|\SpecialIndex{\textdownsingletuliplong} & Single
% tulip, downward-facing \\
% \textleftsingletuliplong & |\textleftsingletuliplong|\SpecialIndex{\textleftsingletuliplong} & Single
% tulip, leftward-facing \\
% \textrightsingletuliplong & |\textrightsingletuliplong|\SpecialIndex{\textrightsingletuliplong} & Single
% tulip, rightward-facing \\
% \textupsingletulip & |\textupsingletulip|\SpecialIndex{\textupsingletulip} & Single tulip,
% upright \\
% \textdownsingletulip & |\textdownsingletulip|\SpecialIndex{\textdownsingletulip} & Single
% tulip, downward \\
% \textleftsingletulip & |\textleftsingletulip|\SpecialIndex{\textleftsingletulip} & Single
% tulip, leftward \\
% \textrightsingletulip & |\textrightsingletulip|\SpecialIndex{\textrightsingletulip} & Single
% tulip, rightward \\
% \spearright & |\spearright|\SpecialIndex{\spearright} &
% Rightward-pointing spear head \\
% \spearleft & |\spearleft|\SpecialIndex{\spearleft} &
% Leftward-pointing spear head \\
% \horizspearext &
% |\horizspearext|\SpecialIndex{\horizspearext} & Extension
% piece for horizontal shafts \\
% \spearup & |\spearup|\SpecialIndex{\spearup} &
% Upward-pointing spear head \\
% \speardown & |\speardown|\SpecialIndex{\speardown} &
% Downward-pointing spear head \\
% \vertspearext & |\vertspearext|\SpecialIndex{\vertspearext}
% & Extension piece for vertical shafts \\
% \fleurdelis & |\fleurdelis|, |\fleurdelys|\SpecialIndex{\fleurdelis}
%	\SpecialIndex{\fleurdelys} & Fleur-de-lis \\
% \fleurdelisdown &
% |\fleurdelisdown|, |\fleurdelysdown|\SpecialIndex{\fleurdelisdown}
%	\SpecialIndex{\fleurdelys} & Fleur-de-lis, downward \\
% \fleurdelisleft &
% |\fleurdelisleft|, |\fleurdelysleft|\SpecialIndex{\fleurdelisleft}
%	\SpecialIndex{\fleurdelys} & Fleur-de-lis, leftward \\
% \fleurdelisright &
% |\fleurdelisright|, |\fleurdelysright|\SpecialIndex{\fleurdelisright}
%\SpecialIndex{\fleurdelys} & Fleur-de-lis, rightward \\
% \LARGE\woundcordleftext & |\woundcordleftext|\SpecialIndex{\woundcordleftext} 
%	& Wound cord, leftward facing, extender \\
% \LARGE\woundcordrightext & 
% 	|\woundcordrightext|\SpecialIndex{\woundcordrightext} & 
%	Wound cord, rightward facing, extender \\
% \LARGE\woundcordleftend & |\woundcordleftend|\SpecialIndex{\woundcordleftend} 
%	& Wound cord, left end \\
% \LARGE\woundcordrightend & 
%	|\woundcordrightend|\SpecialIndex{\woundcordrightend} & 
%	Wound cord, right end \\
% \LARGE\woundcordleftendinv & 
%	|\woundcordleftendinv|\SpecialIndex{\woundcordleftendinv} & 
%	Wound cord, left end, inverted \\
% \LARGE\woundcordrightendinv & 
%	|\woundcordrightendinv|\SpecialIndex{\woundcordrightendinv} & 
%	Wound cord, right end, inverted \\
% \end{longtable}
% \end{center}
%
% \label{page:orncomment}
% These ornaments are often quite useful for decorative
% purposes, though textual ornaments are too often neglected
% these days.  (The sturdy |adforn| and intricate
% |psvectorian| packages for \LaTeX\ are notable and
% admirable exceptions.)  The possibilities with even just a
% few decorative shapes are endless.
% 
% \subsection{Special Symbol and Ornamental Commands} 
% \label{sub:ornamentals}
%
% \lettrine{B}{ecause typography} is an ancient art full of arcane
% knowledge, there are some things that simply won't fit
% into the general rules.  As a result, DRM offers a few
% interesting tidbits that your author hasn't found, or
% hasn't found useful, elsewhere.  We start with a few
% commands for using the textual ornaments DRM provides,
% followed by some more mundane but still useful
% typographical tools.
%
% \subsubsection{Ornamental Commands}
% \label{subsub:orncommands}
%
% Having just mentioned the great decorative utility of
% old-fashioned textual ornaments,\footnote{\textit{See
% supra} at \pageref{page:orncomment}.} it would be remiss not to
% offer some tools for actually using such ornaments short
% of entering them in and designing interlocking boxes by
% hand.  Ornaments, being inherently decorative rather than
% systematic, are not always subject to automation; but some
% limited applications can be, and DRM tries to offer some
% help with them.
%
% DRM offers |\tulipframe|\DescribeMacro{\tulipframe}, which
% frames a title in decorative tulip fleurons:
%
% \vskip1em%
% 
% \hbox to\linewidth{\hfil|\tulipframe{\texttc{Example}}|\hfil}%
% {\LARGE\tulipframe{\texttc{Example}}}
%
% \vskip1em%
% 
% The nature of the tulip fleurons in DRM's symbol font is
% such that these frames can be extended or shrunk as one
% wishes.  |\tulipframe|, alas, is not that intelligent; it
% doesn't grow or shrink with the text, but simply sits as
% it is.  Doing better than this will require box-fiddling
% by hand.  However, since DRM offers vertical \emph{and}
% horizontal tulip ornaments, it's possible to have
% ornamental frames of any height or width.
%
% DRM also offers an extremely flexible \emph{rule system},
% allowing the creation of vertical and horizontal rules of
% any length, out of any characters, in the beginning, the
% middle figures, and the end.  Meet
% \DescribeMacro{\extrule}|\extrule|, or \emph{extensible
% rule}, which can produce rules with whatever characters
% you'd like.
%
% |\extrule| requires five arguments, as shown below:
%
% \begin{center}
% \cmd{\extrule} \marg{orient} \marg{len}
% \marg{start} \marg{end} \marg{ext}
% \end{center}
%
% \begin{description}
% \item[orient] The rule's \emph{orientation}.  This can
% take the value \marg{h}, for \emph{horizontal}, or
% \marg{v}, for \emph{vertical}.
% \item[len] The rule's \emph{length}.  This will be the
% total length of the rule, including the start and end
% characters.  It can be passed in any form understood by
% \eTeX's |\numexpr| and |\dimexpr|, meaning that you can 
% give it formul\ae, such as |{0.2\linewidth}|.
% \item[start] The first character in the rule; this means
% either the left character in a horizontal rule, or the
% bottom character in a vertical rule.
% \item[end] The last character in the rule, either the
% right in a horizontal or the top in a vertical.
% \item[ext] The extension character; this is the character
% which will be repeated  until the rule is the appropriate
% length.
% \end{description}
%
% DRM offers several useful characters for producing such
% rules, which are designed to line up properly and thus
% produce attractive decorative rules.  Among these are the
% \emph{spear characters}, and we will demonstrate their use
% with a couple of sample rules:
%
% \begin{center}
% \begin{tabular}{m{0.5\linewidth}c}
% |\extrule{h}{\linewidth/2}{\spearleft}|
% |{\spearright}{\horizspearext}| &
% \extrule{h}{\linewidth/6}{\spearleft}
% {\spearright}{\horizspearext} \\
% |\extrule{v}{\linewidth/6}{\speardown}|
% |{\spearup}{\vertspearext}| &
% \extrule{v}{\linewidth/6}{\speardown}
% {\spearup}{\vertspearext} \\
% \end{tabular}
% \end{center}
%
% Of course, these are typically more useful when longer, as
% in the rule below, which is equal to the |\linewidth|:
%
% \extrule{h}{\linewidth}{\spearleft}{\spearright}{\horizspearext}
%
% As is evident, |\extrule| also suppresses indentation,
% which is almost certainly the right choice.  If you want
% an indent with it, it's easy enough to put one in
% explicitly.
%
% While characters like these, designed to line up
% correctly, are naturally the most likely candidates for
% such rules, you can use any characters you'd like, which
% can sometimes lead to some interesting choices:
%
% |\extrule{h}{\linewidth/2}{\textleftarrow}{\textrightarrow}{\dag}|
%
% \begin{center}
% \extrule{h}{\linewidth/2}{\textleftarrow}{\textrightarrow}{\dag}
% \end{center}
%
% This is a pretty absurd example, of course, but it's
% likely that better ones could and will be devised.
%
% And what about when we desire a special character in the
% \emph{middle} of the rule?  Use \emph{two} |\extrule|s and
% put the symbol you want in the middle between them; make
% sure you comment out the end of your first and second
% lines, so as not to introduce any extraneous spaces:
% 
% \begin{verbatim}
% \extrule{h}{\linewidth/2}{\spearleft}{}{\horizspearext}%
% \textbigcircle%
% \extrule{h}{\linewidth/2}{}{\spearright}{\horizspearext}%
% \end{verbatim}
% \begin{center}
% \extrule{h}{\linewidth/4}{\spearleft}{}{\horizspearext}\textbigcircle\extrule{h}{\linewidth/4}{}{\spearright}{\horizspearext}
% \end{center}
%
% There's no reason we can't put more than one character into
% these slots, as well, if we want to mix them with some
% different characters:
%
% \begin{verbatim}
% \extrule{h}{\linewidth/2}{\spearleft\raisebox{0.8pt}{\textpipe}}%
%		{\raisebox{0.8pt}{\textpipe}\spearright}{\horizspearext}%
% \end{verbatim}
% \begin{center}
% \extrule{h}{\linewidth/2}{\spearleft\raisebox{0.8pt}{\textpipe}}%
%	{\raisebox{0.8pt}{\textpipe}\spearright}{\horizspearext}%
% \end{center}
%
% Some other useful characters for decorative rules are the
% ``wound cord'' characters:
%
% \begin{center}
% \Huge
% \extrule{h}{\linewidth/2}{\drmsym{\char'323}}{\drmsym{\char'322}}{\drmsym{\char'324}}
% \extrule{h}{\linewidth/2}{\drmsym{\char'320}}{\drmsym{\char'321}}{\drmsym{\char'317}}
% \end{center}
% \vskip1em%
%
% Finally, these rules can often form very dignified page
% borders.  The border on this page, for example, was formed
% very simply by the following (using
% |\usepackage[absolute]{textpos}|):
% \setlength{\TPHorizModule}{\linewidth}
% \begin{textblock}{1}(0.22,2)
% \extrule{v}{\textheight/6*7}{\textbigcircle}{\spearup}{\vertspearext}%
% \hskip-1.3em%
% \extrule{h}{8\textwidth/6}{}{\spearright}{\horizspearext}%
% \end{textblock}
%
% \begin{verbatim}
% \setlength{\TPHorizModule}{\linewidth}
% \begin{textblock}{1}(0.22,2)
% \extrule{v}{\textheight/6*7}{\textbigcircle}{\spearup}{\vertspearext}%
% \hskip-1.3em%
% \extrule{h}{8*\textwidth/6}{}{\spearright}{\horizspearext}%
% \end{textblock}
% \end{verbatim}
%
% This takes a little hand-tuning (e.g., the |\hskip| prior
% to the horizontal |\extrule|, and the offset in the
% parentheses), but once done, it can look quite nice.
%
% \subsubsection{Ellipses}
% \label{subsub:ellipses}
%
% DRM also has some unreasonably configurable ellipses.
% Your author included these because he's often been
% displeased by the default ellipsis options.  (Of course,
% there is the excellent |ellipsis| package; but why not fix
% the problem here, when I've got the chance?)  DRM offers
% two ellipsis commands, \DescribeMacro{\drmelip}|\drmelip|,
% which gives a three-dot ellipsis, and
% \DescribeMacro{\drmfelip}|\drmfelip|, which gives a
% four-dot ellipsis.
%
% I was always taught then when an ellipsis occurs after a
% period, four dots should be used, the first dot being the
% period itself and the next three being the ellipsis.
% However, using |\ldots| and similar commands after a
% period always seems to result in spacing that was subtlely
% (or not-so-subtlely) off.  So DRM tries to fix that
% problem with these commands.
%
% The default behavior of the two:
%
% \begin{table}[htbp]
% \begin{center}\Large
% \begin{tabular}{ll}
% |\drmelip| & |Trying out\drmelip the ellipsis.| \\
% {} & Trying out\drmelip the ellipsis. \\
% |\drmfelip| & |\drmelip and so on\drmfelip| \\
% {} & \drmelip and so on\drmfelip \\
% \end{tabular}
% \caption{A demonstration of DRM's two types of ellipses.}
% \end{center}
% \end{table}
%
% It goes without saying, of course, that these ellipses
% won't break across lines.
%
% There are four parameters that govern how these ellipses
% actually appear:  the space before the ellipsis starts,
% the space in between the ellipsis characters, the space
% after the ellipsis ends, and the character used for the
% ellipsis.  Each of these parameters are configurable.
%
% \DescribeMacro{\drmelipgap}|\drmelipgap| is a \LaTeX\
% length which determines how much space is between each
% ellipsis character; reset it, if you like, with the
% standard |\setlength| command.  By default, it is just
% under three points (2.9, to be precise.)
%
% \DescribeMacro{\drmelipbef}|\drmelipbef| and
% \DescribeMacro{\drmelipaft}|\drmelipaft| are, as the names
% imply, the lengths which govern the amount of space
% before and after the ellipsis.  Reset them with the
% \LaTeX\ |\setlength| command.  By default, they are 2.4
% points and 1.4 points, respectively.
%
% Finally, the \DescribeMacro{\drmelipchar}|\drmelipchar|
% macro tells \LaTeX\ what character is used for the
% ellipsis.  By default, this is |.|, but it can be
% |\def|ed or |\renewcommand|ed to be anything you like.
% Always wanted an ellipse made out ampersands for some
% reason?  Or perhaps one made out of daggers?
%
% \vskip2em%
% \hbox to\linewidth{\hfil|\def\drmelipchar{\dag}\drmelip|\hfil}
% \hbox to\linewidth{\hfil\def\drmelipchar{\dag}\drmelip\hfil}
% \vskip2em%
%
% \def\drmelipchar{.}%
% It's probably wise not to abuse this, but it's good for a
% little fun sometimes, and it's easier to use (though
% obviously much less flexible) than \TeX's |\dotfill|
% incantations.
%
% It is occasionally useful, however; e.g., some legal
% writing makes ellipses out of asterisks:
%
% \vskip2em%
% \hbox % to\linewidth{\hfil|\def\drmelipchar{$^*$}The decision is hereby\drmelip reversed.|\hfil}
% \hbox to\linewidth{\hfil\def\drmelipchar{$^*$}The decision is
% hereby\drmelip reversed.\hfil}
% \vskip2em%
%
% \def\drmelipchar{.}%
% So once in a while, we might actually be able to use this
% feature for something other than its novelty value.
%
% \subsubsection{Decorative Initials}
% \label{subsub:decorinit}
%
% DRM, as of v3.0, provides for decorative initials.  These
% are not traditional decorative initials, however, with
% intricate patterns provided individually for each letter.
% They are, rather, formed with a single background pattern,
% with the necessary letter superimposed.  The goal is to
% make the background pattern interchangeable.  The color of
% that background pattern and the color of the foreground
% letter can be controlled separately.  Despite the single
% background pattern, therefore, this provides for a
% remarkable degree of flexibility.
%
% \DescribeMacro{\drmdecinit}|\drmdecinit| is the name of
% the game here, a command which takes five arguments, all
% of which are mandatory.  
%
% \begin{center}
% \cmd{\drmdecinit} \marg{width} \marg{height}
% \marg{bgcolor} \marg{fgcolor} \marg{fgchar}
% \end{center}
%
% These are largely self-explanatory, so a few examples will
% likely do.  Note that |drm| uses the excellent |gmp|
% package to get the \MP\ code to be part of the \LaTeX\
% code, allowing \LaTeX\ to control significant parts of the
% formatting.  This means that one will have to run a shell
% script along with compiling the document, similarly to
% |bibtex|, |makeindex|, or a host of others.
%
% \begin{parcolumns}{2}
% \colchunk[1]{
% \begin{spverbatim}\lettrine[lines=4,nindent=0pt, 
% findent=-1em]{\drmdecinit{40pt}
% {40pt}{blue}{(.625,0,0)}{L}}{orem
% ipsum}\end{spverbatim}}\colchunk[2]{
% \raggedright\begin{spverbatim}\lettrine[lines=4,nindent=0pt,
% findent=-1em]{\drmdecinit{40pt}
% {40pt}{blue}{red}{L}}{orem ipsum}\end{spverbatim}}\end{parcolumns}
% \begin{parcolumns}{2}
% \colchunk[1]{
% \lettrine[lines=4, findent=-1em,nindent=0pt]
%	{\drmdecinit{40pt}{40pt}{blue}{(.625,0,0)}{L}}{orem ipsum}
% dolor sit amet, consectetur adipiscing elit.  Ut porttitor
% libero lacus, a rhoncus dolor finibus vel.  Morbi
% volputate condimentum orna\-re.  In scelerisque 
% aliquam\drmfelip
% }\colchunk[2]{
% \lettrine[lines=4,nindent=0pt,findent=-1em]
%	{\drmdecinit{40pt}{40pt}{blue}{red}{L}}{orem ipsum}
% dolor sit amet, consectetur adipiscing elit.  Ut porttitor
% libero lacus, a rhoncus dolor finibus vel.  Morbi
% volputate condimentum orna\-re.  In scelerisque
% aliquam\drmfelip
% }\end{parcolumns}
%
% \vskip\baselineskip
% The colors are \MP\ colors; unfortunately, this means that
% we can use only ``black,'' ``white,'' ``red,'' ``green,''
% and ``blue'' by name.  However, any valid \MP\ color
% specification will work.  In the example above, for
% example, to get a darker red, one could use |.4red|, or
% one could specify colors in RGB notation, as shown above
% on the left.  Note that, when doing this latter, the
% parentheses are necessary.
%
% These decorative initials lend themselves to some other,
% sometimes unexpected, uses.  For example, decorative
% enumerates.  It is best to use lining figures rather than
% textual figures for this.
%
% DRM offers the command 
% \DescribeMacro{\drmdecinitfont}|\drmdecinitfont|, which is 
% the font which DRM uses for the decorative initials.  Because
% of the internals of the |gmp| package, the simple name of
% the font can't be inserted here; it must be defined in a
% particular way.  The default is, of course, to use DRM,
% and is defined thus:
%
% \begin{spverbatim}
% \def\drmdecinitfont{\unexpanded{\font\drminitfontcom=drm10}}%
% \end{spverbatim}
%
% In other words, one must define the fonts in the
% old-fashioned \TeX\ way.  The above is the default; so
% whenever you've changed it for some reason, you can get it
% back to the above by entering
% \DescribeMacro{\drmdecinitfontdefault}|\drmdecinitfontdefault|;
% this simply restores the default definition as given
% above.
%
% For the ornate enumerations, we can simply redefine
% |\drmdecinitfont| to use the lining figures from |drmsym|,
% which conveniently are located at precisely the code
% points that one would expect them.  Simply issue:
%
% \begin{quote}\begin{spverbatim}
% \def\drmdecinitfont{\unexpanded{\font\drminitfontcom=drmsym10} %}%
% \renewcommand{\labelenumi}{%
% 	\drmdecinit{14pt}{14pt}{blue}{red}{\theenumi}}
% \end{spverbatim}\end{quote}
%
% This redefines |\drmdecinitfont| to use |drmsym| rather
% than simply |drm|, then redefines the enumerate labels to
% be DRM decorative initials, resulting in the following:
%
%\def\drmdecinitfont{\unexpanded{\font\drminitfontcom=drmsym10} %}%
% \renewcommand{\labelenumi}{%
% 	\drmdecinit{14pt}{14pt}{blue}{red}{\theenumi}}
% \begin{quote}
% \begin{enumerate}
% \item The first item.
% \item The second item.
% \end{enumerate}
% \end{quote}
% \drmdecinitfontdefault
%
% \renewcommand{\labelenumi}{\theenumi.}
% Any character whatever can be used this way, provided that
% the font is correctly selected.  Doubtlessly many creative
% uses for this ability will be found.
%
% One trick, almost necessary when using these on any
% significant scale, is a macro to make them less typing.
% For example, to use them as four-line lettrines using
% Daniel Flipo's excellent |lettrine| package:
%
% \def\declettrine#1#2{%
% 	\lettrine[lines=4,nindent=0pt,findent=-1em]%
%	{\drmdecinit{40pt}{40pt}{blue}{red}{#1}}{#2}%
%	}%
% \begin{spverbatim}
% \def\declettrine#1#2{%
% 	\lettrine[lines=4,nindent=0pt,findent=-1em]%
%	{\drmdecinit{40pt}{40pt}{blue}{red}{#1}}{#2}%
%	}%
% \end{spverbatim}
%
% Rather than having to type the whole of the above each
% time now, one can do it in a more natural manner:
%
% \begin{center}
% \begin{tabular}{p{0.4\linewidth}p{0.4\linewidth}}
% \begin{spverbatim}
%\declettrine{L}{orem ipsum} dolor sit amet, consectetur
%adipiscing elit.  Ut porttitor libero lacus, a rhoncus dolor 
%finibus vel.  Morbi volputate condimentum ornare.  In 
%scelerisque aliquam\drmfelip\end{spverbatim} &
% \declettrine{L}{orem ipsum} dolor sit amet, consectetur
% adipiscing elit.  Ut porttitor libero lacus, a rhoncus
% dolor finibus vel.  Morbi volputate condimentum ornare.
% In scelerisque aliquam\drmfelip \\
% \end{tabular}
% \end{center}
% 
%
% \subsection{Math}
% \label{sub:math}
%
% Your author is far from a mathematician, so he's not
% really able to judge the quality of the following; but DRM
% does offer matching math fonts.  These are limited to the
% default \TeX\ math fonts, however; AMS extensions and the
% like are not available.  Perhaps one day (after finishing
% the ornaments and decorative initials) they will be, but
% for now one will have to pull in other fonts for anything
% that goes beyond plain \TeX.  Using them in bold goes a
% long way to making them match the rest of DRM.
%
% First, we have a full set of mathematical Greek letters.
% As seems to be the custom, the capitals are upright and
% the lowercase slanted.  These can all be accessed via the
% customary \TeX\ math character names.
%
% \begin{center}
% \begin{longtable}{llllllll}
% \toprule
% \multicolumn{8}{c}{Greek Letters} \\
% \midrule
% A & |A| & $\alpha$ & |$\alpha$| & B & |B| & $\beta$& |$\beta$| \\
% $\Gamma$& |$\Gamma$| & $\gamma$& |$\gamma$| & $\Delta$& |$\Delta$| &
% $\delta$& |$\delta$| \\ E & |E| & $\epsilon$& |$\epsilon$| & Z &
% 	|Z| &
% $\zeta$ & |$\zeta$| \\ H & |H| & $\eta$& |$\eta$| & $\Theta$& |$\Theta$| &
% $\theta$& |$\theta$| \\ I & |I| & $\iota$& |$\iota$| & K & |K| &
% $\kappa$& |$\kappa$| \\ $\Lambda$& |$\Lambda$| & $\lambda$&
% 	|$\lambda$| & M & |M| &
% $\mu$ & |$\mu$| \\ N & |N| & $\nu$& |$\nu$| & $\Xi$& |$\Xi$| &
% $\xi$& |$\xi$| \\ O & |O| & o & |o| & $\Pi$& |$\Pi$| &
% $\pi$& |$\pi$| \\ P & |P| & $\rho$& |$\rho$| & $\Sigma$& |$\Sigma$| &
% $\sigma$& |$\sigma$| \\ T & |T| & $\tau$& |$\tau$| & Y & |Y| &
% $\upsilon$& |$\upsilon$| \\ $\Phi$& |$\Phi$| & $\phi$& |$\phi$| & X & |X| &
% $\chi$& |$\chi$| \\ $\Psi$& |$\Psi$| & $\psi$& |$\psi$| & $\Omega$&
% 	|$\Omega$| & $\omega$& |$\omega$| \\ $\vartheta$& |$\vartheta$| & $\varpi$&
% 	|$\varpi$| & $\varsigma$& |$\varsigma$| & $\varphi$ &
%	|$\varphi$| \\
% \bottomrule
% \end{longtable}
% \end{center}
%
% This alphabet led directly to DRM's Greek font, which we
% discuss elsewhere.\footnote{\textit{See supra}, Section
% \ref{sub:greek}, at \pageref{sub:greek}.}
%
% \begin{center}
% \begin{longtable}{llllllll}
% \toprule
% \multicolumn{8}{c}{Math Calligraphic} \\
% \midrule
% $\mathcal{A}$ & $\mathcal{B}$ & $\mathcal{C}$ & $\mathcal{D}$ & $\mathcal{E}$ & $\mathcal{F}$ & $\mathcal{G}$ & $\mathcal{H}$ \\
% $\mathcal{I}$ & $\mathcal{J}$ & $\mathcal{K}$ & $\mathcal{L}$ & $\mathcal{M}$ & $\mathcal{N}$ & $\mathcal{O}$ & $\mathcal{P}$ \\
% $\mathcal{Q}$ & $\mathcal{R}$ & $\mathcal{S}$ & $\mathcal{T}$ & $\mathcal{U}$ & $\mathcal{V}$ & $\mathcal{W}$ & $\mathcal{X}$ \\
% $\mathcal{Y}$ & $\mathcal{Z}$ & {} & {} & {} & {} & {} & {} \\
% \bottomrule
% \end{longtable}
% \end{center}
%
% DRM also has its own extensible characters and
% variable-sized math characters; a few examples
% in various sizes are below.
%
% $$ \sum\limits_{i=1}^n i^2 = \frac{n(n+1)(2n+1)}{6} $$
% $$ \prod\limits_{i=1}^n i^2 = \left(\frac{n(n+1)(2n+1)}{6}\right) $$
% $$ \sum\nolimits_{P_i \in Paths(I)} Probes(P_{i}) $$
% $$ \underbrace{\overbrace{abcdefghijklmnop}} $$
%
% By default, using |\big| and friends doesn't work, a
% problem I haven't been able to resolve.  However, by
% requiring |amsmath|, |drm| provides a more directly
% flexible mechanism for this: \DescribeMacro{\bigd}|\bigd|, 
% which allows arbitrarily sized delimiters.  It takes a
% single argument, which is an integer describing the
% desired size:
%
% \begin{center}
% \begin{tabular}{llllll}
% |\bigd{2}\{| & \bigd{2}\{ &
% |\bigd{4}\{| & \bigd{4}\{ &
% |\bigd{8}\{| & \bigd{8}\{ \\
% \end{tabular}
% \end{center}
%
% |\left| and |\right| work as expected with DRM's
% delimiters.
%
% This symbols, of course, also work inline (as opposed to
% displayed, which is what we have above); you can take
% $\sqrt{2\over3}$ and have $(3\times\left(4\over3\right))$ just
% as easily in a paragraph as in a display, though you may
% want to take care that you're not using too much space for
% your lines.  (I didn't take care in this paragraph, and
% you can see how bad it looks.)
%
% \subsection{Greek}
% \label{sub:greek}
%
% Because DRM offers Greek characters in math, it was a
% short step to offer actual Greek text, and so I've done
% so, according to the standard LGR encoding.  I can just
% barely read the Greek alphabet and remember very little of
% the grammar, and what little I once knew was all ancient
% and koine, but here it is.  DRM's Greek support is
% limited; while it offers all the normal \emph{polutoniko}
% accents, subscripts, and breathings, along with some
% archaic characters like the digamma, there is no italic,
% small caps, or various weights.  DRM isn't, therefore,
% really suitable for typesetting whole Greek works; it
% will, however, offer attractive typesetting of Greek
% phrases and quotations within a text set otherwise in the
% Latin alphabet.
%
% The |\grktext|\DescribeMacro{\grktext}\ command changes the
% current font encoding to LGR, which for DRM's purposes
% means it's typesetting with Greek characters from then on.
% The macro |\textgrk|\DescribeMacro{\textgrk}\ is similar,
% but takes a single argument, which is typeset in Greek
% characters.  A few examples follow.
%
% \begin{center}
% \begin{tabular}{p{0.4\textwidth}p{0.4\textwidth}}
% \begin{spverbatim}We know that \textgrk{Aqilleuc} was one of the Greeks' greatest warriors.\end{spverbatim} &
% \begin{spverbatim}{\grktext >En {>a}rq\char'254\ {>~h}n {<o} l{\'o}goc, ka{\'i} {<o} l{\'o}goc {\~>h}n pr{\'o}c t{\'o}n je{\'o}n, ka{\'i} je{\'o}c {>\~h}n {<o} l{\'o}goc.}\end{spverbatim} \\
% We know that \textgrk{Aqilleuc} was one 
% of the Greeks' greatest warriors. &
% {\grktext >En {>a}rq\char'254\
% {>~h}n {<o} l{\'o}goc, ka{\'i} {<o} l{\'o}goc {\~>h}n
% pr{\'o}c t{\'o}n je{\'o}n, ka{\'i} je{\'o}c {>\~h}n {<o}
% l{\'o}goc.} \\
% \end{tabular}
% \end{center}
%
% I understand that |babel| has facilities for making the
% typesetting of all the \textgrk{polutoniko} accents much
% cleaner, but I don't write enough in Greek to have learned
% to use it, resulting in the mess you see above.  Note that
% |drm| (the package) does \emph{not} pull in |babel| or the
% |polutoniko| option, or any other Greek typesetting
% package; it simply provides the fonts.  If you're
% typesetting long enough passages that you need Greek
% hyphenation and the like, you'll have to invoke the
% appropriate package yourself.
%
% \section{Implementation}
% \label{sect:code}
% 
% Load the required packages.  DRM contains TS1, LGR, OML,
% OMS, and T1 encoded fonts, so we load |fontenc| with all
% these encodings as options.  We also load |modroman| for 
% the |\romanize| macro, defined below.  Finally, we load
% |gmp| for the decorative initials (this allows including
% \MP\ code in \LaTeX\ source).
%    \begin{macrocode}
\RequirePackage[LGR,OML,OMS,TS1,T1]{fontenc}
\RequirePackage{modroman}
\RequirePackage{amsmath}
\RequirePackage{gmp}
%    \end{macrocode}
% Now we declare our options.
%    \begin{macrocode}
\newif\ifnodefault\nodefaultfalse
\newif\ifnodefaultmath\nodefaultmathfalse
\newif\ifnodefaulttext\nodefaulttextfalse
\newif\ifsymbolsonly\symbolsonlyfalse
\newif\iftypeone\typeonefalse
\DeclareOption{nodefault}{\nodefaulttrue\nodefaultmathtrue%
	\nodefaulttexttrue}
\DeclareOption{nodefaultmath}{\nodefaultmathtrue}
\DeclareOption{nodefaulttext}{\nodefaulttexttrue}
\DeclareOption{symbolsonly}{\symbolsonlytrue\nodefaulttrue%
	\nodefaulttexttrue\nodefaultmathtrue}
\DeclareOption{typeone}{\typeonetrue}
\ProcessOptions
%    \end{macrocode}
% Begin defining the font families.  First, define the fonts
% with the file |drm.map| if the option |typeone| was
% requested; otherwise, load the \MF\ files directly.
%    \begin{macrocode}
\iftypeone
	\RequirePackage{ifpdf}
	\ifpdf
		\pdfmapfile{=drm.map}
	\fi
	\DeclareFontFamily{T1}{drm}{}
	\DeclareFontFamily{TS1}{drm}{}
	\DeclareFontFamily{LGR}{drm}{}
	\DeclareFontFamily{U}{drmsups}{}
	\DeclareFontFamily{U}{drminfs}{}
	\DeclareFontFamily{T1}{drmdoz}{}
	\DeclareFontShape{T1}{drmdoz}{m}{n}{ <-7> drmdoz6 
		<7> drmdoz7 <8> drmdoz8 <9> drmdoz9 <10-12> drmdoz10 
		<12-13> drmdoz12 <14-17> drmdoz14 <17-24> drmdoz17 
		<24-> drmdoz24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{sl}{ <-7> drmdozsl6 
		<7> drmdozsl7 <8> drmdozsl8 <9> drmdozsl9 <10-12> drmdozsl10 
		<12-13> drmdozsl12 <14-17> drmdozsl14 <17-24> drmdozsl17 
		<24-> drmdozsl24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{it}{ <-7> drmdozit6 
		<7> drmdozit7 <8> drmdozit8 <9> drmdozit9 <10-12> drmdozit10 
		<12-13> drmdozit12 <14-17> drmdozit14 <17-24> drmdozit17 
		<24-> drmdozit24 }{}
	\DeclareFontShape{T1}{drmdoz}{l}{n}{ <-7> drmdozl6 
		<7> drmdozl7 <8> drmdozl8 <9> drmdozl9 <10-12> drmdozl10 
		<12-13> drmdozl12 <14-17> drmdozl14 <17-24> drmdozl17 
		<24-> drmdozl24 }{}
	\DeclareFontShape{T1}{drmdoz}{b}{n}{ <-7> drmdozb6 
		<7> drmdozb7 <8> drmdozb8 <9> drmdozb9 <10-12> drmdozb10 
		<12-13> drmdozb12 <14-17> drmdozb14 <17-24> drmdozb17 
		<24-> drmdozb24 }{}
	\DeclareFontShape{T1}{drmdoz}{bx}{n}{ <-7> drmdozbx6 
		<7> drmdozbx7 <8> drmdozbx8 <9> drmdozbx9 <10-12> drmdozbx10 
		<12-13> drmdozbx12 <14-17> drmdozbx14 <17-24> drmdozbx17 
		<24-> drmdozbx24 }{}
	\DeclareFontShape{T1}{drmdoz}{bx}{it}{ <-7> drmdozitbx6 
		<7> drmdozitbx7 <8> drmdozitbx8 <9> drmdozitbx9 <10-12> drmdozitbx10 
		<12-13> drmdozitbx12 <14-17> drmdozitbx14 <17-24> drmdozitbx17 
		<24-> drmdozitbx24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{ui}{ <-7> drmdozui6 
		<7> drmdozui7 <8> drmdozui8 <9> drmdozui9 <10-12> drmdozui10 
		<12-13> drmdozui12 <14-17> drmdozui14 <17-24> drmdozui17 
		<24-> drmdozui24 }{}
	\DeclareFontShape{T1}{drmdoz}{bx}{ui}{ <-7> drmdozuibx6 
		<7> drmdozuibx7 <8> drmdozuibx8 <9> drmdozuibx9 <10-12> drmdozuibx10 
		<12-13> drmdozuibx12 <14-17> drmdozuibx14 <17-24> drmdozuibx17 
		<24-> drmdozuibx24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{sc}{ <-7> drmdozsc6 
		<7> drmdozsc7 <8> drmdozsc8 <9> drmdozsc9 <10-12> drmdozsc10 
		<12-13> drmdozsc12 <14-17> drmdozsc14 <17-24> drmdozsc17 
		<24-> drmdozsc24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{tc}{ <-7> drmdoztc6 
		<7> drmdoztc7 <8> drmdoztc8 <9> drmdoztc9 <10-12> drmdoztc10 
		<12-13> drmdoztc12 <14-17> drmdoztc14 <17-24> drmdoztc17 
		<24-> drmdoztc24 }{}
	\DeclareFontShape{T1}{drmdoz}{bx}{sc}{ <-7> drmdozscbx6 
		<7> drmdozscbx7 <8> drmdozscbx8 <9> drmdozscbx9 <10-12> drmdozscbx10 
		<12-13> drmdozscbx12 <14-17> drmdozscbx14 <17-24> drmdozscbx17 
		<24-> drmdozscbx24 }{}
	\DeclareFontShape{T1}{drmdoz}{bx}{tc}{ <-7> drmdoztcbx6 
		<7> drmdoztcbx7 <8> drmdoztcbx8 <9> drmdoztcbx9 <10-12> drmdoztcbx10 
		<12-13> drmdoztcbx12 <14-17> drmdoztcbx14 <17-24> drmdoztcbx17 
		<24-> drmdoztcbx24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{itsc}{<-7> drmdozitsc6 <7> 
		drmdozitsc7 <8> drmdozitsc8 <9> drmdozitsc9 <10-12> 
		drmdozitsc10 <12-14> drmdozitsc12 <14-17> drmdozitsc14 
		<17-24> drmdozitsc17 <24-> drmdozitsc24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{ittc}{<-7> drmdozittc6 <7> 
		drmdozittc7 <8> drmdozittc8 <9> drmdozittc9 <10-12> 
		drmdozittc10 <12-14> drmdozittc12 <14-17> drmdozittc14 
		<17-24> drmdozittc17 <24-> drmdozittc24 }{}
	\DeclareFontShape{U}{drminfs}{m}{n}{ <-7> drminf6 
		<7> drminf7 <8> drminf8 <9> drminf9 <10-12> drminf10 
		<12-13> drminf12 <14-17> drminf14 <17-24> drminf17 
		<24-> drminf24 }{}
	\DeclareFontShape{U}{drmsups}{m}{n}{ <-7> drmfigs6 
		<7> drmfigs7 <8> drmfigs8 <9> drmfigs9 <10-12> drmfigs10 
		<12-13> drmfigs12 <14-17> drmfigs14 <17-24> drmfigs17 
		<24-> drmfigs24 }{}
	\DeclareFontShape{T1}{drm}{m}{n}{ <-7> drm6 <7> drm7 <8> drm8
		<9> drm9 <10-12> drm10 <12-13> drm12 <14-17> drm14 
		<17-24> drm17 <24-> drm24 }{}
	\DeclareFontShape{T1}{drm}{m}{sc}{<-7> drmsc6 <7> drmsc7 
		<8> drmsc8 <9> drmsc9 <10-12> drmsc10 <12-14> drmsc12 
		<14-17> drmsc14 <17-24> drmsc17 <24-> drmsc24 }{}
	\DeclareFontShape{T1}{drm}{m}{tc}{<-7> drmtc6 <7> drmtc7 
		<8> drmtc8 <9> drmtc9 <10-12> drmtc10 <12-14> drmtc12 
		<14-17> drmtc14 <17-24> drmtc17 <24-> drmtc24 }{}
	\DeclareFontShape{T1}{drm}{bx}{sc}{<-7> drmscbx6 <7> drmscbx7 
		<8> drmscbx8 <9> drmscbx9 <10-12> drmscbx10 <12-14> drmscbx12 
		<14-17> drmscbx14 <17-24> drmscbx17 <24-> drmscbx24 }{}
	\DeclareFontShape{T1}{drm}{bx}{tc}{<-7> drmtcbx6 <7> drmtcbx7 
		<8> drmtcbx8 <9> drmtcbx9 <10-12> drmtcbx10 <12-14> drmtcbx12 
		<14-17> drmtcbx14 <17-24> drmtcbx17 <24-> drmtcbx24 }{}
	\DeclareFontShape{T1}{drm}{m}{itsc}{<-7> drmitsc6 <7> drmitsc7 
		<8> drmitsc8 <9> drmitsc9 <10-12> drmitsc10 <12-14> drmitsc12 
		<14-17> drmitsc14 <17-24> drmitsc17 <24-> drmitsc24 }{}
	\DeclareFontShape{T1}{drm}{m}{ittc}{<-7> drmittc6 <7> drmittc7 
		<8> drmittc8 <9> drmittc9 <10-12> drmittc10 <12-14> drmittc12 
		<14-17> drmittc14 <17-24> drmittc17 <24-> drmittc24 }{}
	\DeclareFontShape{T1}{drm}{m}{sl}{<-7> drmsl6 <7> drmsl7 
		<8> drmsl8 <9> drmsl9 <10-12> drmsl10 <12-14> drmsl12 
		<14-17> drmsl14 <17-24> drmsl17 <24-> drmsl24 }{}
	\DeclareFontShape{T1}{drm}{m}{it}{ <-7> drmit6 <7> drmit7 
		<8> drmit8 <9> drmit9 <10-12> drmit10 <12-14> drmit12 
		<14-17> drmit14 <17-24> drmit17 <24-> drmit24 }{}
	\DeclareFontShape{T1}{drm}{bx}{it}{ <-7> drmitbx6 <7> drmitbx7 
		<8> drmitbx8 <9> drmitbx9 <10-12> drmitbx10 <12-14> drmitbx12 
		<14-17> drmitbx14 <17-24> drmitbx17 <24-> drmitbx24 }{}
	\DeclareFontShape{T1}{drm}{m}{ui}{<-7> drmui6 <7> drmui7 
		<8> drmui8 <9> drmui9 <10-12> drmui10 <12-14> drmui12 
		<14-17> drmui14 <17-24> drmui17 <24-> drmui24 }{}
	\DeclareFontShape{T1}{drm}{bx}{ui}{<-7> drmuibx6 <7> drmuibx7 
		<8> drmuibx8 <9> drmuibx9 <10-12> drmuibx10 <12-14> drmuibx12 
		<14-17> drmuibx14 <17-24> drmuibx17 <24-> drmuibx24 }{}
	\DeclareFontShape{T1}{drm}{l}{n}{<-7> drml6 <7> drml7 
		<8> drml8 <9> drml9 <10-12> drml10 <12-14> drml12 
		<14-17> drml14 <17-24> drml17 <24-> drml24 }{}
	\DeclareFontShape{T1}{drm}{b}{n}{<-7> drmb6 <7> drmb7 
		<8> drmb8 <9> drmb9 <10-12> drmb10 <12-14> drmb12 
		<14-17> drmb14 <17-24> drmb17 <24-> drmb24 }{}
	\DeclareFontShape{T1}{drm}{bx}{n}{<-7> drmbx6 <7> drmbx7 
		<8> drmbx8 <9> drmbx9 <10-12> drmbx10 <12-14> drmbx12 
		<14-17> drmbx14 <17-24> drmbx17 <24-> drmbx24 }{}
	\DeclareFontShape{TS1}{drm}{m}{n}{<-7> drmsym7 
		<8> drmsym8 <9> drmsym9 <10-12> drmsym10 <12-14> drmsym12 
		<14-17> drmsym14 <17-24> drmsym17 <24-> drmsym24 }{}
	\DeclareFontShape{LGR}{drm}{m}{n}{<-> drmgrk10 }{}
	\DeclareSymbolFont{dozens}{T1}{drmdoz}{m}{n}
\else
	\DeclareFontFamily{T1}{drm}{}
	\DeclareFontFamily{TS1}{drm}{}
	\DeclareFontFamily{LGR}{drm}{}
	\DeclareFontFamily{U}{drmsups}{}
	\DeclareFontFamily{U}{drminfs}{}
	\DeclareFontFamily{T1}{drmdoz}{}
	\DeclareFontShape{T1}{drmdoz}{m}{n}{ <-7> drmdoz6 
		<7> drmdoz7 <8> drmdoz8 <9> drmdoz9 <10-12> drmdoz10 
		<12-13> drmdoz12 <14-17> drmdoz14 <17-24> drmdoz17 
		<24-> drmdoz24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{sl}{ <-7> drmdozsl6 
		<7> drmdozsl7 <8> drmdozsl8 <9> drmdozsl9 <10-12> drmdozsl10 
		<12-13> drmdozsl12 <14-17> drmdozsl14 <17-24> drmdozsl17 
		<24-> drmdozsl24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{it}{ <-7> drmdozit6 
		<7> drmdozit7 <8> drmdozit8 <9> drmdozit9 <10-12> drmdozit10 
		<12-13> drmdozit12 <14-17> drmdozit14 <17-24> drmdozit17 
		<24-> drmdozit24 }{}
	\DeclareFontShape{T1}{drmdoz}{l}{n}{ <-7> drmdozl6 
		<7> drmdozl7 <8> drmdozl8 <9> drmdozl9 <10-12> drmdozl10 
		<12-13> drmdozl12 <14-17> drmdozl14 <17-24> drmdozl17 
		<24-> drmdozl24 }{}
	\DeclareFontShape{T1}{drmdoz}{b}{n}{ <-7> drmdozb6 
		<7> drmdozb7 <8> drmdozb8 <9> drmdozb9 <10-12> drmdozb10 
		<12-13> drmdozb12 <14-17> drmdozb14 <17-24> drmdozb17 
		<24-> drmdozb24 }{}
	\DeclareFontShape{T1}{drmdoz}{bx}{n}{ <-7> drmdozbx6 
		<7> drmdozbx7 <8> drmdozbx8 <9> drmdozbx9 <10-12> drmdozbx10 
		<12-13> drmdozbx12 <14-17> drmdozbx14 <17-24> drmdozbx17 
		<24-> drmdozbx24 }{}
	\DeclareFontShape{T1}{drmdoz}{bx}{it}{ <-7> drmdozitbx6 
		<7> drmdozitbx7 <8> drmdozitbx8 <9> drmdozitbx9 <10-12> drmdozitbx10 
		<12-13> drmdozitbx12 <14-17> drmdozitbx14 <17-24> drmdozitbx17 
		<24-> drmdozitbx24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{ui}{ <-7> drmdozui6 
		<7> drmdozui7 <8> drmdozui8 <9> drmdozui9 <10-12> drmdozui10 
		<12-13> drmdozui12 <14-17> drmdozui14 <17-24> drmdozui17 
		<24-> drmdozui24 }{}
	\DeclareFontShape{T1}{drmdoz}{bx}{ui}{ <-7> drmdozuibx6 
		<7> drmdozuibx7 <8> drmdozuibx8 <9> drmdozuibx9 <10-12> drmdozuibx10 
		<12-13> drmdozuibx12 <14-17> drmdozuibx14 <17-24> drmdozuibx17 
		<24-> drmdozuibx24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{sc}{ <-7> drmdozsc6 
		<7> drmdozsc7 <8> drmdozsc8 <9> drmdozsc9 <10-12> drmdozsc10 
		<12-13> drmdozsc12 <14-17> drmdozsc14 <17-24> drmdozsc17 
		<24-> drmdozsc24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{tc}{ <-7> drmdoztc6 
		<7> drmdoztc7 <8> drmdoztc8 <9> drmdoztc9 <10-12> drmdoztc10 
		<12-13> drmdoztc12 <14-17> drmdoztc14 <17-24> drmdoztc17 
		<24-> drmdoztc24 }{}
	\DeclareFontShape{T1}{drmdoz}{bx}{sc}{ <-7> drmdozscbx6 
		<7> drmdozscbx7 <8> drmdozscbx8 <9> drmdozscbx9 <10-12> drmdozscbx10 
		<12-13> drmdozscbx12 <14-17> drmdozscbx14 <17-24> drmdozscbx17 
		<24-> drmdozscbx24 }{}
	\DeclareFontShape{T1}{drmdoz}{bx}{tc}{ <-7> drmdoztcbx6 
		<7> drmdoztcbx7 <8> drmdoztcbx8 <9> drmdoztcbx9 <10-12> drmdoztcbx10 
		<12-13> drmdoztcbx12 <14-17> drmdoztcbx14 <17-24> drmdoztcbx17 
		<24-> drmdoztcbx24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{itsc}{<-7> drmdozitsc6 <7> 
		drmdozitsc7 <8> drmdozitsc8 <9> drmdozitsc9 <10-12> 
		drmdozitsc10 <12-14> drmdozitsc12 <14-17> drmdozitsc14 
		<17-24> drmdozitsc17 <24-> drmdozitsc24 }{}
	\DeclareFontShape{T1}{drmdoz}{m}{ittc}{<-7> drmdozittc6 <7> 
		drmdozittc7 <8> drmdozittc8 <9> drmdozittc9 <10-12> 
		drmdozittc10 <12-14> drmdozittc12 <14-17> drmdozittc14 
		<17-24> drmdozittc17 <24-> drmdozittc24 }{}
	\DeclareFontShape{U}{drminfs}{m}{n}{ <-7> drminf6 
		<7> drminf7 <8> drminf8 <9> drminf9 <10-12> drminf10 
		<12-13> drminf12 <14-17> drminf14 <17-24> drminf17 
		<24-> drminf24 }{}
	\DeclareFontShape{U}{drmsups}{m}{n}{ <-7> drmfigs6 
		<7> drmfigs7 <8> drmfigs8 <9> drmfigs9 <10-12> drmfigs10 
		<12-13> drmfigs12 <14-17> drmfigs14 <17-24> drmfigs17 
		<24-> drmfigs24 }{}
	\DeclareFontShape{T1}{drm}{m}{n}{ <-7> drm6 <7> drm7 <8> drm8
		<9> drm9 <10-12> drm10 <12-13> drm12 <14-17> drm14 
		<17-24> drm17 <24-> drm24 }{}
	\DeclareFontShape{T1}{drm}{m}{sc}{<-7> drmsc6 <7> drmsc7 
		<8> drmsc8 <9> drmsc9 <10-12> drmsc10 <12-14> drmsc12 
		<14-17> drmsc14 <17-24> drmsc17 <24-> drmsc24 }{}
	\DeclareFontShape{T1}{drm}{m}{tc}{<-7> drmtc6 <7> drmtc7 
		<8> drmtc8 <9> drmtc9 <10-12> drmtc10 <12-14> drmtc12 
		<14-17> drmtc14 <17-24> drmtc17 <24-> drmtc24 }{}
	\DeclareFontShape{T1}{drm}{bx}{sc}{<-7> drmscbx6 <7> drmscbx7 
		<8> drmscbx8 <9> drmscbx9 <10-12> drmscbx10 <12-14> drmscbx12 
		<14-17> drmscbx14 <17-24> drmscbx17 <24-> drmscbx24 }{}
	\DeclareFontShape{T1}{drm}{bx}{tc}{<-7> drmtcbx6 <7> drmtcbx7 
		<8> drmtcbx8 <9> drmtcbx9 <10-12> drmtcbx10 <12-14> drmtcbx12 
		<14-17> drmtcbx14 <17-24> drmtcbx17 <24-> drmtcbx24 }{}
	\DeclareFontShape{T1}{drm}{m}{itsc}{<-7> drmitsc6 <7> drmitsc7 
		<8> drmitsc8 <9> drmitsc9 <10-12> drmitsc10 <12-14> drmitsc12 
		<14-17> drmitsc14 <17-24> drmitsc17 <24-> drmitsc24 }{}
	\DeclareFontShape{T1}{drm}{m}{ittc}{<-7> drmittc6 <7> drmittc7 
		<8> drmittc8 <9> drmittc9 <10-12> drmittc10 <12-14> drmittc12 
		<14-17> drmittc14 <17-24> drmittc17 <24-> drmittc24 }{}
	\DeclareFontShape{T1}{drm}{m}{sl}{<-7> drmsl6 <7> drmsl7 
		<8> drmsl8 <9> drmsl9 <10-12> drmsl10 <12-14> drmsl12 
		<14-17> drmsl14 <17-24> drmsl17 <24-> drmsl24 }{}
	\DeclareFontShape{T1}{drm}{m}{it}{ <-7> drmit6 <7> drmit7 
		<8> drmit8 <9> drmit9 <10-12> drmit10 <12-14> drmit12 
		<14-17> drmit14 <17-24> drmit17 <24-> drmit24 }{}
	\DeclareFontShape{T1}{drm}{bx}{it}{ <-7> drmitbx6 <7> drmitbx7 
		<8> drmitbx8 <9> drmitbx9 <10-12> drmitbx10 <12-14> drmitbx12 
		<14-17> drmitbx14 <17-24> drmitbx17 <24-> drmitbx24 }{}
	\DeclareFontShape{T1}{drm}{m}{ui}{<-7> drmui6 <7> drmui7 
		<8> drmui8 <9> drmui9 <10-12> drmui10 <12-14> drmui12 
		<14-17> drmui14 <17-24> drmui17 <24-> drmui24 }{}
	\DeclareFontShape{T1}{drm}{bx}{ui}{<-7> drmuibx6 <7> drmuibx7 
		<8> drmuibx8 <9> drmuibx9 <10-12> drmuibx10 <12-14> drmuibx12 
		<14-17> drmuibx14 <17-24> drmuibx17 <24-> drmuibx24 }{}
	\DeclareFontShape{T1}{drm}{l}{n}{<-7> drml6 <7> drml7 
		<8> drml8 <9> drml9 <10-12> drml10 <12-14> drml12 
		<14-17> drml14 <17-24> drml17 <24-> drml24 }{}
	\DeclareFontShape{T1}{drm}{b}{n}{<-7> drmb6 <7> drmb7 
		<8> drmb8 <9> drmb9 <10-12> drmb10 <12-14> drmb12 
		<14-17> drmb14 <17-24> drmb17 <24-> drmb24 }{}
	\DeclareFontShape{T1}{drm}{bx}{n}{<-7> drmbx6 <7> drmbx7 
		<8> drmbx8 <9> drmbx9 <10-12> drmbx10 <12-14> drmbx12 
		<14-17> drmbx14 <17-24> drmbx17 <24-> drmbx24 }{}
	\DeclareFontShape{TS1}{drm}{m}{n}{<-7> drmsym7 
		<8> drmsym8 <9> drmsym9 <10-12> drmsym10 <12-14> drmsym12 
		<14-17> drmsym14 <17-24> drmsym17 <24-> drmsym24 }{}
	\DeclareFontShape{LGR}{drm}{m}{n}{<-> drmgrk10 }{}
	\DeclareSymbolFont{dozens}{T1}{drmdoz}{m}{n}
\fi
%    \end{macrocode}
% Next, we define the appropriate dozenal characters using
% the DRM dozenal fonts if and only if the |dozenal| package
% is loaded.  If you want to override this behavior and use
% the default, Computer Modern-ish |dozenal| fonts, load
% |dozenal| \emph{after} |drm|.
%    \begin{macrocode}
\@ifpackageloaded{dozenal}{%
	\def\doz#1{{\fontfamily{drmdoz}\fontencoding{T1}\selectfont #1}}%
	\def\drmsupfont{drmsups}\def\drminffont{drminfs}%
	\renewcommand\x{%
		\ifx\f@family\drmsupfont X%
		\else\ifx\f@family\drminffont X%
		\else\TextOrMath{\protect\doz{{X}}}{\doz@X}\fi\fi}%
	\renewcommand\e{%
		\ifx\f@family\drmsupfont E%
		\else\ifx\f@family\drminffont E%
		\else\TextOrMath{\protect\doz{{E}}}{\doz@E}\fi\fi}%
	\DeclareMathSymbol{\doz@X}{\mathord}{dozens}{88}%
	\DeclareMathSymbol{\doz@E}{\mathord}{dozens}{69}%
}{}
%    \end{macrocode}
% Now, set the default text font as DRM unless |nodefault|
% or |nodefaulttext| has been specified.  Also redefine the
% default footnote counters to use superior figures rather
% than automatically scaled figures.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaulttext\else
	\renewcommand\encodingdefault{T1}
	\renewcommand\familydefault{drm}
	\def\f@@n@te{footnote}
	\def\@makefnmark{%
		\hbox{\drmsupfigs\@thefnmark}
	}%
\fi\fi
%    \end{macrocode}
% Give ourselves a shortcut to access the short-tailed
% letter ``q,'' just in case we need it.
%    \begin{macrocode}
\def\drmshortq{{\usefont{T1}{drm}{m}{n}\char'137}}
%    \end{macrocode}
% That gives us the satisfying ``\drmshortq'' rather than
% the ``Q'' we would otherwise get.  Useful for circumstance
% when the ``Q'' is followed by characters which hang
% below the baseline, or in a dropped initial.
%
% Now we move on to define commands for the more unusual
% shapes, since \LaTeXe\ doesn't have them built in.  We
% start with \texttc{titling small caps}, then move on to
% \textui{upright italics}.  We also define |\textgrk| and
% |\grktext|, for typesetting in Greek characters.  Finally,
% we also define the commands to produce the superior and
% inferior figures.
%    \begin{macrocode}
\def\tcshape{\fontshape{tc}\selectfont}
\def\texttc#1{{\tcshape#1}}
\def\ittcshape{\fontshape{ittc}\selectfont}
\def\textittc#1{{\ittcshape#1}}
\def\itscshape{\fontshape{itsc}\selectfont}
\def\textitsc#1{{\itscshape#1}}
\def\uishape{\fontshape{ui}\selectfont}
\def\textui#1{{\uishape#1}}
\def\grktext{\fontencoding{LGR}\selectfont}
\def\textgrk#1{{\grktext#1}}
\def\drmsupfigs{\usefont{U}{drmsups}{m}{n}}
\def\textdrmsupfigs#1{{\drmsupfigs#1}}
\def\drminffigs{\usefont{U}{drminfs}{m}{n}}
\def\textdrminffigs#1{{\drminffigs#1}}
%    \end{macrocode}
% Next, we define the weights.  We know that |\textbf| will
% give us normal boldface, and that |\textmd| will return us
% to medium weight; but since DRM also has a light weight
% and a bold non-extended, we need to define commands for
% those, as well.
%    \begin{macrocode}
\def\lseries{\fontseries{l}\selectfont}
\def\textl#1{{\lseries#1}}
\def\bseries{\fontseries{b}\selectfont}
\def\textb#1{{\bseries#1}}
%    \end{macrocode}
% Moving on, we define size commands based on
% traditional English-language printers' names.  Why?
% \emph{Because we can}, that's why.
%    \begin{macrocode}
% \def\loosen{\addtolength{\baselineskip}{1pt}}
% \def\excelsior{\fontsize{3pt}{3.5pt}\selectfont}
% \def\minikin{\excelsior}
% \def\brilliant{\fontsize{4pt}{4.5pt}\selectfont}
% \def\diamond{\fontsize{4.5pt}{5pt}\selectfont}
% \def\pearl{\fontsize{5pt}{6pt}\selectfont}
% \def\agate{\fontsize{5.5pt}{6.5pt}\selectfont}
% \def\ruby{\agate}
% \def\nonpareille{\fontsize{6pt}{7pt}\selectfont}
% \def\minionette{\fontsize{6.5pt}{7.5pt}\selectfont}
% \def\emerald{\minionette}
% \def\minion{\fontsize{7pt}{8pt}\selectfont}
% \def\brevier{\fontsize{8pt}{9pt}\selectfont}
% \def\petit{\brevier}
% \def\smalltext{\brevier}
% \def\bourgeois{\fontsize{9pt}{10pt}\selectfont}
% \def\galliard{\bourgeois}
% \def\longprimer{\fontsize{10pt}{12pt}\selectfont}
% \def\corpus{\longprimer}
% \def\garamond{\longprimer}
% \def\smallpica{\fontsize{11pt}{13pt}\selectfont}
% \def\philosophy{\smallpica}
% \def\pica{\fontsize{12pt}{15pt}\selectfont}
% \def\english{\fontsize{14pt}{17pt}\selectfont}
% \def\mittel{\english}
% \def\augustin{\english}
% \def\columbian{\fontsize{16pt}{19pt}\selectfont}
% \def\twolinebrevier{\columbian}
% \def\greatprimer{\fontsize{18pt}{22pt}\selectfont}
% \def\paragon{\fontsize{20pt}{24pt}\selectfont}
% \def\doublesmallpica{\fontsize{21pt}{25pt}\selectfont}
% \def\doublesmallpicaus{\fontsize{22pt}{26pt}\selectfont}
% \def\doublepicabrit{\doublesmallpicaus}
% \def\doublepica{\fontsize{24pt}{28pt}\selectfont}
% \def\twolinepica{\doublepica}
% \def\doubleenglish{\fontsize{28pt}{33pt}\selectfont}
% \def\twolineenglish{\doubleenglish}
% \def\fivelinenonpareil{\fontsize{30pt}{35pt}\selectfont}
% \def\fourlinebrevier{\fontsize{32pt}{38pt}\selectfont}
% \def\doublegreatprimer{\fontsize{36pt}{42pt}\selectfont}
% \def\twolinegreatprimer{\doublegreatprimer}
% \def\meridian{\fontsize{44pt}{50pt}\selectfont}
% \def\twolinedoublepica{\meridian}
% \def\trafalgar{\meridian}
% \def\canon{\fontsize{48pt}{54pt}\selectfont}
% \def\fourline{\canon}
% \def\fivelinepica{\fontsize{60pt}{66pt}\selectfont}
% \def\inch{\fontsize{72pt}{78pt}\selectfont}
%    \end{macrocode}
% Now we move on to define the math fonts.  This turned out
% to be a surprisingly convoluted process, and I only
% marginally understand what's going on here; but it works,
% and I'll try to go through it as best as I can.
%
% First, we make \LaTeX\ aware of our math fonts:
%    \begin{macrocode}
\DeclareFontFamily{OML}{drm}{}
\DeclareFontShape{OML}{drm}{m}{n}{ <-> drmmi10 }{}
\DeclareFontFamily{OMS}{drm}{}
\DeclareFontShape{OMS}{drm}{m}{n}{ <-> drmsy10 }{}
\DeclareFontFamily{OMX}{drm}{}
\DeclareFontShape{OMX}{drm}{m}{n}{ <-> drmomx10 }{}
%    \end{macrocode}
% Next, we declare something called a math \emph{version};
% this way we can define new math shapes without clobbering
% the default settings.  I'm not sure why this is really
% necessary, but it appears to be; so we define a math
% version |drmmath|:
%    \begin{macrocode}
\DeclareMathVersion{drmmath}
%    \end{macrocode}
% Now we define our symbol fonts.  This lets \LaTeX\ know
% where to yank its symbols from when typesetting a math
% formula.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\SetSymbolFont{operators}{drmmath}{T1}{drm}{m}{n}
\SetSymbolFont{letters}{drmmath}{OML}{drm}{m}{n}
\DeclareSymbolFont{symbs}{TS1}{drm}{m}{n}
\SetSymbolFont{symbs}{drmmath}{TS1}{drm}{m}{n}
\DeclareSymbolFont{drmmathsy}{OMS}{drm}{m}{n}
\SetSymbolFont{drmmathsy}{drmmath}{OMS}{drm}{m}{n}
\DeclareSymbolFont{drmmathomx}{OMX}{drm}{m}{n}
\SetSymbolFont{drmmathomx}{drmmath}{OMX}{drm}{m}{n}
\fi\fi
%    \end{macrocode}
% Now we write in our \emph{math alphabets}, so that when we
% request |\mathcal| or something similar we'll get DRM and
% not Computer Modern.  We define |\mathcal|, of course, and
% also |\drmmathlets|, just in case we want to request DRM
% directly.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\DeclareMathAlphabet{\drmmathlets}{OML}{drm}{m}{n}
\SetMathAlphabet{\drmmathlets}{drmmath}{OML}{drm}{m}{n}
\DeclareMathAlphabet{\mathcal}{OMS}{drm}{m}{n}
\SetMathAlphabet{\mathcal}{drmmath}{OMS}{drm}{m}{n}
\fi\fi
%    \end{macrocode}
% Now ensure that we get lining figures in math mode.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\DeclareMathSymbol{0}{0}{symbs}{48}
\DeclareMathSymbol{1}{0}{symbs}{49}
\DeclareMathSymbol{2}{0}{symbs}{50}
\DeclareMathSymbol{3}{0}{symbs}{51}
\DeclareMathSymbol{4}{0}{symbs}{52}
\DeclareMathSymbol{5}{0}{symbs}{53}
\DeclareMathSymbol{6}{0}{symbs}{54}
\DeclareMathSymbol{7}{0}{symbs}{55}
\DeclareMathSymbol{8}{0}{symbs}{56}
\DeclareMathSymbol{9}{0}{symbs}{57}
\fi\fi
%    \end{macrocode}
% Now, it appears to be necessary to redefine all the math
% symbols, so we do that.  Beginning with the Greek letters:
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\DeclareMathSymbol{\Gamma}{0}{letters}{0}
\DeclareMathSymbol{\Delta}{0}{letters}{1}
\DeclareMathSymbol{\Theta}{0}{letters}{2}
\DeclareMathSymbol{\Lambda}{0}{letters}{3}
\DeclareMathSymbol{\Xi}{0}{letters}{4}
\DeclareMathSymbol{\Pi}{0}{letters}{5}
\DeclareMathSymbol{\Sigma}{0}{letters}{6}
\DeclareMathSymbol{\Upsilon}{0}{letters}{7}
\DeclareMathSymbol{\Phi}{0}{letters}{8}
\DeclareMathSymbol{\Psi}{0}{letters}{9}
\DeclareMathSymbol{\Omega}{0}{letters}{10}
\DeclareMathSymbol{\alpha}{0}{letters}{11}
\DeclareMathSymbol{\beta}{0}{letters}{12}
\DeclareMathSymbol{\gamma}{0}{letters}{13}
\DeclareMathSymbol{\delta}{0}{letters}{14}
\DeclareMathSymbol{\epsilon}{0}{letters}{15}
\DeclareMathSymbol{\zeta}{0}{letters}{16}
\DeclareMathSymbol{\eta}{0}{letters}{17}
\DeclareMathSymbol{\theta}{0}{letters}{18}
\DeclareMathSymbol{\iota}{0}{letters}{19}
\DeclareMathSymbol{\kappa}{0}{letters}{20}
\DeclareMathSymbol{\lambda}{0}{letters}{21}
\DeclareMathSymbol{\mu}{0}{letters}{22}
\DeclareMathSymbol{\nu}{0}{letters}{23}
\DeclareMathSymbol{\xi}{0}{letters}{24}
\DeclareMathSymbol{\pi}{0}{letters}{25}
\DeclareMathSymbol{\rho}{0}{letters}{26}
\DeclareMathSymbol{\sigma}{0}{letters}{27}
\DeclareMathSymbol{\tau}{0}{letters}{28}
\DeclareMathSymbol{\upsilon}{0}{letters}{29}
\DeclareMathSymbol{\phi}{0}{letters}{30}
\DeclareMathSymbol{\chi}{0}{letters}{31}
\DeclareMathSymbol{\psi}{0}{letters}{32}
\DeclareMathSymbol{\omega}{0}{letters}{33}
\DeclareMathSymbol{\varepsilon}{0}{letters}{34}
\DeclareMathSymbol{\vartheta}{0}{letters}{35}
\DeclareMathSymbol{\varpi}{0}{letters}{36}
\DeclareMathSymbol{\varrho}{0}{letters}{37}
\DeclareMathSymbol{\varsigma}{0}{letters}{38}
\DeclareMathSymbol{\varphi}{0}{letters}{39}
\fi\fi
%    \end{macrocode}
% Now let's define some of the other symbols in the OML
% encoding.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\DeclareMathSymbol{\leftharpoonup}{0}{letters}{40}
\DeclareMathSymbol{\leftharpoondown}{0}{letters}{41}
\DeclareMathSymbol{\rightharpoonup}{0}{letters}{42}
\DeclareMathSymbol{\rightharpoondown}{0}{letters}{43}
\DeclareMathSymbol{\triangleright}{0}{letters}{46}
\DeclareMathSymbol{\triangleleft}{0}{letters}{47}
\DeclareMathSymbol{\flat}{0}{letters}{91}
\DeclareMathSymbol{\natural}{0}{letters}{92}
\DeclareMathSymbol{\sharp}{0}{letters}{93}
\DeclareMathSymbol{\smile}{0}{letters}{94}
\DeclareMathSymbol{\frown}{0}{letters}{95}
\DeclareMathSymbol{\ell}{0}{letters}{96}
\DeclareMathSymbol{\imath}{0}{letters}{123}
\DeclareMathSymbol{\jmath}{0}{letters}{124}
\DeclareMathSymbol{\wp}{0}{letters}{125}
\fi\fi
%    \end{macrocode}
% Now we go on to define the symbols from the OMS-encoded
% fonts.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\DeclareMathSymbol{-}{2}{drmmathsy}{'000}
\DeclareMathSymbol{\cdot}{2}{drmmathsy}{'001}
\DeclareMathSymbol{\times}{2}{drmmathsy}{'002}
\DeclareMathSymbol{\ast}{2}{drmmathsy}{'003}
\DeclareMathSymbol{\div}{2}{drmmathsy}{'004}
\DeclareMathSymbol{\diamond}{2}{drmmathsy}{'005}
\DeclareMathSymbol{\pm}{2}{drmmathsy}{'006}
\DeclareMathSymbol{\mp}{2}{drmmathsy}{'007}
\DeclareMathSymbol{\oplus}{2}{drmmathsy}{'010}
\DeclareMathSymbol{\ominus}{2}{drmmathsy}{'011}
\DeclareMathSymbol{\otimes}{2}{drmmathsy}{'012}
\DeclareMathSymbol{\oslash}{2}{drmmathsy}{'013}
\DeclareMathSymbol{\odot}{2}{drmmathsy}{'014}
\DeclareMathSymbol{\bigcirc}{2}{drmmathsy}{'015}
\DeclareMathSymbol{\circ}{2}{drmmathsy}{'016}
\DeclareMathSymbol{\bullet}{2}{drmmathsy}{'017}
\DeclareMathSymbol{\asymp}{3}{drmmathsy}{'020}
\DeclareMathSymbol{\equiv}{3}{drmmathsy}{'021}
\DeclareMathSymbol{\subseteq}{3}{drmmathsy}{'022}
\DeclareMathSymbol{\supseteq}{3}{drmmathsy}{'023}
\DeclareMathSymbol{\leq}{3}{drmmathsy}{'024}
\DeclareMathSymbol{\geq}{3}{drmmathsy}{'025}
\DeclareMathSymbol{\preceq}{3}{drmmathsy}{'026}
\DeclareMathSymbol{\succeq}{3}{drmmathsy}{'027}
\DeclareMathSymbol{\sim}{3}{drmmathsy}{'030}
\DeclareMathSymbol{\approx}{3}{drmmathsy}{'031}
\DeclareMathSymbol{\subset}{3}{drmmathsy}{'032}
\DeclareMathSymbol{\supset}{3}{drmmathsy}{'033}
\DeclareMathSymbol{\ll}{3}{drmmathsy}{'034}
\DeclareMathSymbol{\gg}{3}{drmmathsy}{'035}
\DeclareMathSymbol{\prec}{3}{drmmathsy}{'036}
\DeclareMathSymbol{\succ}{3}{drmmathsy}{'037}
\DeclareMathSymbol{\simeq}{3}{drmmathsy}{'047}
\DeclareMathSymbol{\propto}{3}{drmmathsy}{'057}
\DeclareMathSymbol{\prime}{0}{drmmathsy}{'060}
\DeclareMathSymbol{'}{0}{drmmathsy}{'060}
\DeclareMathSymbol{\infty}{0}{drmmathsy}{'061}
\DeclareMathSymbol{\in}{0}{drmmathsy}{'062}
\DeclareMathSymbol{\ni}{0}{drmmathsy}{'063}
\DeclareMathSymbol{\bigtriangleup}{2}{drmmathsy}{'064}
\DeclareMathSymbol{\bigtriangledown}{2}{drmmathsy}{'065}
\DeclareMathSymbol{/}{2}{drmmathsy}{'066}
%\DeclareMathSymbol{'}{2}{drmmathsy}{'067}
\DeclareMathSymbol{\forall}{2}{drmmathsy}{'070}
\DeclareMathSymbol{\exists}{2}{drmmathsy}{'071}
\DeclareMathSymbol{\neg}{2}{drmmathsy}{'072}
\DeclareMathSymbol{\emptyset}{2}{drmmathsy}{'073}
\DeclareMathSymbol{\Im}{0}{drmmathsy}{'074}
\DeclareMathSymbol{\Re}{0}{drmmathsy}{'075}
\DeclareMathSymbol{\top}{0}{drmmathsy}{'076}
\DeclareMathSymbol{\bot}{0}{drmmathsy}{'077}
%\DeclareMathSymbol{\aleph}{0}{drmmathsy}{'080}
\DeclareMathSymbol{\cup}{2}{drmmathsy}{'133}
\DeclareMathSymbol{\cap}{2}{drmmathsy}{'134}
\DeclareMathSymbol{\uplus}{2}{drmmathsy}{'135}
\DeclareMathSymbol{\wedge}{2}{drmmathsy}{'136}
\DeclareMathSymbol{\vee}{2}{drmmathsy}{'137}
\DeclareMathSymbol{\vdash}{3}{drmmathsy}{'140}
\DeclareMathSymbol{\dashv}{3}{drmmathsy}{'141}
\fi\fi
%    \end{macrocode}
% Now we define some arrow symbols; there is a surprisingly
% large variety of these.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\DeclareMathSymbol{\leftarrow}{0}{drmmathsy}{'040}
\DeclareMathSymbol{\rightarrow}{0}{drmmathsy}{'041}
\DeclareMathSymbol{\leftrightarrow}{0}{drmmathsy}{'044}
\DeclareMathSymbol{\nearrow}{0}{drmmathsy}{'045}
\DeclareMathSymbol{\searrow}{0}{drmmathsy}{'046}
\DeclareMathSymbol{\Leftarrow}{0}{drmmathsy}{'050}
\DeclareMathSymbol{\Rightarrow}{0}{drmmathsy}{'051}
\DeclareMathSymbol{\Leftrightarrow}{0}{drmmathsy}{'054}
\DeclareMathSymbol{\nwarrow}{0}{drmmathsy}{'055}
\DeclareMathSymbol{\swarrow}{0}{drmmathsy}{'056}
\DeclareMathSymbol{\wr}{2}{drmmathsy}{'157}
\DeclareMathSymbol{\surd}{0}{drmmathsy}{'160}
\DeclareMathSymbol{\amalg}{2}{drmmathsy}{'161}
\DeclareMathSymbol{\nabla}{0}{drmmathsy}{'162}
\DeclareMathSymbol{\sqcup}{2}{drmmathsy}{'164}
\DeclareMathSymbol{\sqcap}{2}{drmmathsy}{'165}
\DeclareMathSymbol{\sqsubseteq}{2}{drmmathsy}{'166}
\DeclareMathSymbol{\sqsupseteq}{2}{drmmathsy}{'167}
\DeclareMathSymbol{\dagger}{2}{drmmathsy}{'171}
\DeclareMathSymbol{\ddagger}{2}{drmmathsy}{'172}
\DeclareMathSymbol{:}{2}{operators}{'072}
\DeclareMathSymbol{;}{0}{operators}{'073}
\DeclareMathSymbol{.}{0}{letters}{'072}
\DeclareMathSymbol{,}{0}{operators}{'054}
\DeclareMathSymbol{\ldotp}{0}{letters}{'072}
\DeclareMathSymbol{\clubsuit}{0}{letters}{'174}
\DeclareMathSymbol{\diamondsuit}{0}{letters}{'175}
\DeclareMathSymbol{\heartsuit}{0}{letters}{'176}
\DeclareMathSymbol{\spadesuit}{0}{letters}{'177}
\DeclareMathSymbol{\partial}{0}{drmmathsy}{'100}
\fi\fi
%    \end{macrocode}
% Now we define some of the large/small symbols, like |\sum|
% and |\prod|.  It proved necessary to cancel out the
% previous definitions of these, or \LaTeX\ complained about
% them being already defined; it seems that it ought to be
% possible to redefine them only for a given math version,
% but I haven't figured it out yet.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\let\coprod\relax
\DeclareMathSymbol{\coprod}{\mathop}{drmmathomx}{"60}
\let\bigvee\relax
\DeclareMathSymbol{\bigvee}{\mathop}{drmmathomx}{"57}
\let\bigwedge\relax
\DeclareMathSymbol{\bigwedge}{\mathop}{drmmathomx}{"56}
\let\biguplus\relax
\DeclareMathSymbol{\biguplus}{\mathop}{drmmathomx}{"55}
\let\bigcap\relax
\DeclareMathSymbol{\bigcap}{\mathop}{drmmathomx}{"54}
\let\bigcup\relax
\DeclareMathSymbol{\bigcup}{\mathop}{drmmathomx}{"53}
\let\intop\relax
\DeclareMathSymbol{\intop}{\mathop}{drmmathomx}{"52}
    \def\int{\intop\nolimits}
\let\prod\relax
\DeclareMathSymbol{\prod}{\mathop}{drmmathomx}{"51}
\let\sum\relax
\DeclareMathSymbol{\sum}{\mathop}{drmmathomx}{"50}
\let\bigotimes\relax
\DeclareMathSymbol{\bigotimes}{\mathop}{drmmathomx}{"4E}
\let\bigoplus\relax
\DeclareMathSymbol{\bigoplus}{\mathop}{drmmathomx}{"4C}
\let\bigodot\relax
\DeclareMathSymbol{\bigodot}{\mathop}{drmmathomx}{"4A}
\let\ointcup\relax
\DeclareMathSymbol{\ointop}{\mathop}{drmmathomx}{"48}
    \def\oint{\ointop\nolimits}
\let\bigsqcup\relax
\DeclareMathSymbol{\bigsqcup}{\mathop}{drmmathomx}{"46}
\fi\fi
%    \end{macrocode}
% Moving on to delimiters.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\DeclareMathSymbol{|}{0}{drmmathsy}{'152}
\let\backslash\relax\DeclareMathSymbol{\backslash}{0}{drmmathsy}{'156}
\fi\fi
%    \end{macrocode}
% Declare the math accents.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\DeclareMathAccent{\vec}{\mathord}{letters}{126}
\DeclareMathAccent{\acute}{\mathalpha}{operators}{1}
\DeclareMathAccent{\hat}{\mathalpha}{operators}{2}
\DeclareMathAccent{\grave}{\mathalpha}{operators}{0}
\DeclareMathAccent{\check}{\mathalpha}{operators}{7}
\DeclareMathAccent{\bar}{\mathalpha}{operators}{9}
\DeclareMathAccent{\dot}{\mathalpha}{operators}{10}
\DeclareMathAccent{\ddot}{\mathalpha}{operators}{4}
\DeclareMathAccent{\breve}{\mathalpha}{operators}{8}
\DeclareMathAccent{\tilde}{\mathalpha}{operators}{3}
\fi\fi
%    \end{macrocode}
% Declare our math delimiters, so that \TeX's
% delimiter-expanding magic can work with our new
% characters.
%    \begin{macrocode}
\def\bigd#1{\bBigg@{#1}}
\ifnodefault\else\ifnodefaultmath\else
\DeclareMathDelimiter{(}{\mathopen}{operators}{"28}
	{drmmathomx}{"00}
\DeclareMathDelimiter{)}{\mathopen}{operators}{"29}
	{drmmathomx}{"01}
\let\{\relax\let\}\relax
\DeclareMathDelimiter{\{}{\mathopen}{operators}{"7B}
	{drmmathomx}{"08}
\DeclareMathDelimiter{\}}{\mathopen}{operators}{"7D}
	{drmmathomx}{"09}
\DeclareMathDelimiter{[}{\mathopen}{operators}{"5B}
	{drmmathomx}{"02}
\DeclareMathDelimiter{]}{\mathopen}{operators}{"5D}
	{drmmathomx}{"03}
\DeclareMathDelimiter{\lfloor}{\mathopen}{drmmathsy}{"62}
	{drmmathomx}{"04}
\DeclareMathDelimiter{\rfloor}{\mathclose}{drmmathsy}{"63}
	{drmmathomx}{"05}
\DeclareMathDelimiter{\lceil}{\mathopen}{drmmathsy}{"64}
	{drmmathomx}{"06}
\DeclareMathDelimiter{\rceil}{\mathclose}{drmmathsy}{"65}
	{drmmathomx}{"07}
\DeclareMathDelimiter{\langle}{\mathopen}{drmmathsy}{"68}
	{drmmathomx}{"0A}
\DeclareMathDelimiter{\rangle}{\mathclose}{drmmathsy}{"69}
	{drmmathomx}{"0B}
\DeclareMathDelimiter{|}{\mathclose}{drmmathomx}{"0C}
	{drmmathomx}{"0C}
\DeclareMathDelimiter{\vert}{\mathclose}{drmmathomx}{"0C}
	{drmmathomx}{"0C}
\DeclareMathDelimiter{\|}{\mathclose}{drmmathomx}{"0D}
	{drmmathomx}{"0D}
\DeclareMathDelimiter{\Vert}{\mathclose}{drmmathomx}{"0D}
	{drmmathomx}{"0D}
\DeclareMathDelimiter{\uparrow}{\mathrel}{drmmathomx}{"78}
	{drmmathomx}{"78}
\DeclareMathDelimiter{\downarrow}{\mathrel}{drmmathomx}{"79}
	{drmmathomx}{"79}
\DeclareMathDelimiter{\updownarrow}{\mathrel}{drmmathsy}{"6C}
	{drmmathomx}{"3F}
\DeclareMathDelimiter{\Uparrow}{\mathrel}{drmmathsy}{"2A}
	{drmmathomx}{"7E}
\DeclareMathDelimiter{\Downarrow}{\mathrel}{drmmathsy}{"2B}
	{drmmathomx}{"7F}
\DeclareMathDelimiter{\Updownarrow}{\mathrel}{drmmathsy}{"6D}
	{drmmathomx}{"77}
\fi\fi
%    \end{macrocode}
% Next, we define a \emph{math radical}, which essentially
% means a square root sign.  Curiously, the thickness of the
% rule enclosing the square root sign is governed by the
% \emph{height} of the square root character; this means
% that almost the entire character is \emph{depth}.  I had
% to jimmy a bit with the default \LaTeX\ |\sqrt| definition
% to make the root numbers (say, the 3 for the cube root)
% line up properly, as well, which is what all the |\r@@t|
% business here is.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
\DeclareMathRadical{\sqrtsign}{drmmathsy}{"70}{drmmathomx}{"70}
\DeclareRobustCommand\sqrt{\@ifnextchar[\@sqrt\sqrtsign}
\def\r@@t#1#2{
	\setbox\z@\hbox{$\m@th#1\sqrtsign{#2}$}
	\dimen@\ht\z@ \advance\dimen@-\dp\z@
	\mkern5mu\raise.8\dimen@\copy\rootbox
	\mkern-7mu\box\z@}
\fi\fi
%    \end{macrocode}
% Now, finally, we declare |drmmath| to be the default math
% version, so that all this will become the norm in a
% document declaring the |drm| package.  Unless, of course,
% either |nodefault| or |nodefaultmath| has been specified
% as an option.
%    \begin{macrocode}
\ifnodefault\else\ifnodefaultmath\else
	\mathversion{drmmath}
\fi\fi
%    \end{macrocode}
% Now we define the special symbols.  First, we define
% |\drmsym|, which takes a single argument to be typeset
% from the |drmsym| font.   Then we define a (rather huge)
% macro for redefining all the symbols.  This macro will be
% called only if |nodefault| or |nodefaulttext| have not
% been selected, or if |symbolsonly| has been selected.
%    \begin{macrocode}
\def\drmsym#1{{\fontencoding{TS1}\selectfont\fontfamily{drm}\selectfont#1}}
\def\drmsymbolredef{
	\def\textbigcircle{\drmsym{\char'117}}
	\def\textregistered{\drmsym{\char'256}}
	\def\texttrademark{\drmsym{\char'227}}
	\def\textservicemark{\drmsym{\char'237}}
	\def\textsoundrecording{\drmsym{\char'255}}
	\def\textcopyright{\drmsym{\char'251}}
	\def\textcopyleft{\drmsym{\char'253}}
	\def\textborn{\drmsym{\char'142}}
	\def\textdied{\drmsym{\char'144}}
	\def\textdivorced{\drmsym{\char'143}}
	\def\textmarried{\drmsym{\char'155}}
	\def\textleaf{\drmsym{\char'154}}
	\def\textmale{\drmsym{\char'153}}
	\def\textfemale{\drmsym{\char'145}}
	\def\textcrusadecross{\drmsym{\char'130}}
	\def\textcrusadecrossoutline{\drmsym{\char'131}}
	\def\textlatincross{\drmsym{\char'144}}
	\def\textlatincrossoutline{\drmsym{\char'134}}
	\def\textgreekcross{\drmsym{\char'170}}
	\def\textgreekcrossoutline{\drmsym{\char'171}}
	\def\textsaltirecross{\drmsym{\char'172}}
	\def\textsaltirecrossoutline{\drmsym{\char'173}}
	\def\texteucharist{\drmsym{\char'120}}
	\def\textstardavid{\drmsym{\char'140}}
	\def\textstardavidsolid{\drmsym{\char'141}}
	\def\textstardavidoutline{\drmsym{\char'151}}
	\def\textsun{\drmsym{\char'330}}
	\def\textsunvar{\drmsym{\char'331}}
	\def\textwaxcrescent{\drmsym{\char'332}}
	\def\textfullmoon{\drmsym{\char'333}}
	\def\textwanecrescent{\drmsym{\char'334}}
	\def\textnewmoon{\drmsym{\char'335}}
	\def\textmercury{\drmsym{\char'336}}
	\def\textearth{\drmsym{\char'337}}
	\def\textterra{\drmsym{\char'337}}
	\def\textearthvar{\drmsym{\char'340}}
	\def\textterravar{\drmsym{\char'340}}
	\def\textmars{\drmsym{\char'153}}
	\def\textvenus{\drmsym{\char'145}}
	\def\textjupiter{\drmsym{\char'341}}
	\def\textsaturn{\drmsym{\char'342}}
	\def\texturanus{\drmsym{\char'343}}
	\def\texturanusvar{\drmsym{\char'344}}
	\def\textneptune{\drmsym{\char'345}}
	\def\textceres{\drmsym{\char'346}}
	\def\textpallas{\drmsym{\char'347}}
	\def\textjuno{\drmsym{\char'350}}
	\def\textjunovar{\drmsym{\char'351}}
	\def\textvesta{\drmsym{\char'352}}
	\def\textvestavar{\drmsym{\char'353}}
	\def\textastraea{\drmsym{\char'354}}
	\def\textastraeavar{\drmsym{\char'355}}
	\def\texthebe{\drmsym{\char'356}}
	\def\textiris{\drmsym{\char'357}}
	\def\textaries{\drmsym{\char'360}}
	\def\textari{\drmsym{\char'360}}
	\def\texttaurus{\drmsym{\char'361}}
	\def\texttau{\drmsym{\char'361}}
	\def\textgemini{\drmsym{\char'362}}
	\def\textgem{\drmsym{\char'362}}
	\def\textcancer{\drmsym{\char'363}}
	\def\textcnc{\drmsym{\char'363}}
	\def\textleo{\drmsym{\char'364}}
	\def\textvirgo{\drmsym{\char'365}}
	\def\textvir{\drmsym{\char'365}}
	\def\textlibra{\drmsym{\char'367}}
	\def\textlib{\drmsym{\char'367}}
	\def\textscorpius{\drmsym{\char'370}}
	\def\textsco{\drmsym{\char'370}}
	\def\textsagittarius{\drmsym{\char'371}}
	\def\textsgr{\drmsym{\char'371}}
	\def\textcapricorn{\drmsym{\char'372}}
	\def\textcap{\drmsym{\char'372}}
	\def\textaquarius{\drmsym{\char'373}}
	\def\textaqr{\drmsym{\char'373}}
	\def\textpisces{\drmsym{\char'374}}
	\def\textpsc{\drmsym{\char'374}}
	\def\textpluto{\drmsym{\char'375}}
	\def\textplutovar{\drmsym{\char'376}}
	\def\textstar{\drmsym{\char'142}}
	\def\textcomet{\drmsym{\char'377}}
	\def\textquadrature{\drmsym{\char'310}}
	\def\textopposition{\drmsym{\char'311}}
	\def\textconjunction{\drmsym{\char'312}}
	\def\textascendingnode{\drmsym{\char'315}}
	\def\textdescendingnode{\drmsym{\char'314}}
	\def\textdollarsign{\drmsym{\char'044}}
	\def\textolddollarsign{\drmsym{\char'212}}
	\def\textcentsign{\drmsym{\char'242}}
	\def\textoldcentsign{\drmsym{\char'213}}
	\def\textpoundsterling{\drmsym{\char'243}}
	\def\textoldpoundsterling{\drmsym{\char'222}}
	\def\textlira{\drmsym{\char'222}}
	\def\texteuro{\drmsym{\char'277}}
	\def\textyen{\drmsym{\char'245}}
	\def\textbaht{\drmsym{\char'232}}
	\def\textcolon{\drmsym{\char'215}}
	\def\textdong{\drmsym{\char'226}}
	\def\textflorin{\drmsym{\char'214}}
	\def\textguarani{\drmsym{\char'220}}
	\def\textnaira{\drmsym{\char'217}}
	\def\textpeso{\drmsym{\char'221}}
	\def\textruble{\drmsym{\char'221}}
	\def\textwon{\drmsym{\char'216}}
	\def\textcurrency{\drmsym{\char'244}}
	\def\romone{\drmsym{\char'100}}
	\def\romfive{\drmsym{\char'101}}
	\def\romten{\drmsym{\char'102}}
	\def\romfifty{\drmsym{\char'103}}
	\def\romhundred{\drmsym{\char'104}}
	\def\romfivehundred{\drmsym{\char'105}}
	\def\romthousand{\drmsym{\char'106}}
	\def\liningzero{\drmsym{\char'060}}
	\def\liningone{\drmsym{\char'061}}
	\def\liningtwo{\drmsym{\char'062}}
	\def\liningthree{\drmsym{\char'063}}
	\def\liningfour{\drmsym{\char'064}}
	\def\liningfive{\drmsym{\char'065}}
	\def\liningsix{\drmsym{\char'066}}
	\def\liningseven{\drmsym{\char'067}}
	\def\liningeight{\drmsym{\char'070}}
	\def\liningnine{\drmsym{\char'071}}
	\def\textnumero{\drmsym{\char'233}}
	\def\textrefmark{\drmsym{\char'270}}
	\def\textasterism{\drmsym{\char'302}}
	\def\textfeminineordinal{\drmsym{\char'252}}
	\def\textmasculineordinal{\drmsym{\char'272}}
	\def\textsupone{\drmsym{\char'271}}
	\def\textsuptwo{\drmsym{\char'262}}
	\def\textsupthree{\drmsym{\char'263}}
	\def\textpilcrowsolid{\drmsym{\char'231}}
	\def\textpilcrowoutline{\drmsym{\char'266}}
	\def\textsection{\drmsym{\char'247}}
	\def\textdagger{\drmsym{\char'204}}
	\def\textdag{\drmsym{\char'204}}
	\def\dag{\drmsym{\char'204}}
	\def\textdbldagger{\drmsym{\char'205}}
	\def\textdbldag{\drmsym{\char'205}}
	\def\dbldag{\drmsym{\char'205}}
	\def\textpipe{\drmsym{\char'206}}
	\def\textbrokenpipe{\drmsym{\char'246}}
	\def\textprime{\drmsym{\char'264}}
	\def\textdoubleprime{\drmsym{\char'303}}
	\def\texttripleprime{\drmsym{\char'313}}
	\def\textsqrt{\drmsym{\char'273}}
	\def\textquarter{\drmsym{\char'274}}
	\def\texthalf{\drmsym{\char'275}}
	\def\textthreequarters{\drmsym{\char'276}}
	\def\textthird{\drmsym{\char'304}}
	\def\texttwothirds{\drmsym{\char'305}}
	\def\textpermille{\drmsym{\char'207}}
	\def\textperbiqua{\drmsym{\char'207}}
	\def\textpertenmille{\drmsym{\char'230}}
	\def\textpertriqua{\drmsym{\char'230}}
	\def\textequals{\drmsym{\char'055}}
	\def\textslash{\drmsym{\char'057}}
	\def\texttimes{\drmsym{\char'326}}
	\def\textdiv{\drmsym{\char'366}}
	\def\textradiation{\drmsym{\char'161}}
	\def\textradiationnocircle{\drmsym{\char'160}}
	\def\textbiohazard{\drmsym{\char'163}}
	\def\textbiohazardnocircle{\drmsym{\char'162}}
	\def\texthighvoltage{\drmsym{\char'166}}
	\def\texthighvoltagenotriangle{\drmsym{\char'165}}
	\def\textgeneralwarning{\drmsym{\char'164}}
	\def\textuparrow{\drmsym{\char'136}}
	\def\textdownarrow{\drmsym{\char'137}}
	\def\textleftarrow{\drmsym{\char'030}}
	\def\textrightarrow{\drmsym{\char'031}}
	\def\textrecipe{\drmsym{\char'223}}
	\def\textintbang{\drmsym{\char'224}}
	\def\textopenintbang{\drmsym{\char'225}}
	\def\textbullet{\drmsym{\char'210}}
	\def\textopenbullet{\drmsym{\char'236}}
	\def\textheart{\drmsym{\char'174}}
	\def\textopenheart{\drmsym{\char'175}}
	\def\texteighthnote{\drmsym{\char'156}}
	\def\textdiamond{\drmsym{\char'306}}
	\def\textopendiamond{\drmsym{\char'307}}
	\def\textlozenge{\drmsym{\char'307}}
	\def\textdegree{\drmsym{\char'260}}
	\def\texttilde{\drmsym{\char'176}}
	\def\textasciitilde{\texttilde}
	\def\tilde{\texttilde}
	\def\textasciicircum{\drmsym{\char'002}}
	\def\textdegreec{\drmsym{\char'211}}
	\def\textrightupfleuron{\drmsym{\char'016}}
	\def\textrightdownfleuron{\drmsym{\char'017}}
	\def\textleftupfleuron{\drmsym{\char'020}}
	\def\textleftdownfleuron{\drmsym{\char'021}}
	\def\textupleftfleuron{\drmsym{\char'050}}
	\def\textuprightfleuron{\drmsym{\char'051}}
	\def\textdownrightfleuron{\drmsym{\char'077}}
	\def\textdownleftfleuron{\drmsym{\char'107}}
	\def\textsquaretulip{\drmsym{\char'023}}
	\def\textsquaretulipside{\drmsym{\char'046}}
	\def\textupdoubletulip{\drmsym{\char'024}}
	\def\textdowndoubletulip{\drmsym{\char'027}}
	\def\textrightdoubletulip{\drmsym{\char'036}}
	\def\textleftdoubletulip{\drmsym{\char'037}}
	\def\textupleftcornertulip{\drmsym{\char'053}}
	\def\textuprightcornertulip{\drmsym{\char'072}}
	\def\textlowleftcornertulip{\drmsym{\char'073}}
	\def\textlowrightcornertulip{\drmsym{\char'110}}
	\def\textupsingletuliplong{\drmsym{\char'111}}
	\def\textdownsingletuliplong{\drmsym{\char'112}}
	\def\textleftsingletuliplong{\drmsym{\char'113}}
	\def\textrightsingletuliplong{\drmsym{\char'114}}
	\def\textupsingletulip{\drmsym{\char'116}}
	\def\textdownsingletulip{\drmsym{\char'121}}
	\def\textleftsingletulip{\drmsym{\char'122}}
	\def\textrightsingletulip{\drmsym{\char'123}}
	\def\spearright{\drmsym{\char'124}}
	\def\spearleft{\drmsym{\char'125}}
	\def\horizspearext{\drmsym{\char'126}}
	\def\spearup{\drmsym{\char'132}}
	\def\speardown{\drmsym{\char'146}}
	\def\vertspearext{\drmsym{\char'147}}
	\def\fleurdelis{\drmsym{\char'157}}
	\def\fleurdelys{\drmsym{\char'157}}
	\def\fleurdelisdown{\drmsym{\char'167}}
	\def\fleurdelysdown{\drmsym{\char'167}}
	\def\fleurdelisleft{\drmsym{\char'316}}
	\def\fleurdelysleft{\drmsym{\char'316}}
	\def\fleurdelisright{\drmsym{\char'177}}
	\def\fleurdelysright{\drmsym{\char'177}}
	\def\woundcordleftext{\drmsym{\char'317}}
	\def\woundcordrightext{\drmsym{\char'324}}
	\def\woundcordleftend{\drmsym{\char'320}}
	\def\woundcordrightend{\drmsym{\char'321}}
	\def\woundcordleftendinv{\drmsym{\char'323}}
	\def\woundcordrightendinv{\drmsym{\char'322}}
}
\ifnodefault\else\ifnodefaulttext\else
	\drmsymbolredef
\fi\fi
\ifsymbolsonly\drmsymbolredef\fi
%    \end{macrocode}
% Now, rather than require people to enter the Roman numeral
% macros by hand, we provide a command, |\romanize|, which
% takes as its only argument an Indo-Arabic numeral and
% converts it into a Roman numeral.  This macro is a thin
% wrapper around one from the |modroman| package, and in
% fact requires |modroman| to work.
%    \begin{macrocode}
\def\romanize#1{%
	\RedefineMRmdclxvij{\romthousand}{\romfivehundred}
		{\romhundred}{\romfifty}{\romten}{\romfive}{\romone}{\romone}%
	\nbshortroman{#1}%
}%
%    \end{macrocode}
% We also define a command for producing lining numerals
% rather than old-style figures, so that these long-winded
% command names don't need to be typed if lining numerals
% will be used frequently.  It takes the number to be output
% as lining as its only argument.
%    \begin{macrocode}
\def\liningnums#1{%
	\drmsym{#1}%
}%
%    \end{macrocode}
% Now we define the decorative tulip frame macro, as an
% example of the beautiful constructions which are possible
% with fleurons and other textual ornaments.
%    \begin{macrocode}
\def\tulipframe#1{%
	\vbox{%
		\hbox to\linewidth{\hfil%
			{\drmsym{\char'053}}%
				{\drmsym{\char'111}}%
				{\drmsym{\char'024}}%
				{\drmsym{\char'111}}%
				{\drmsym{\char'072}}\hfil}%
		\vskip-0.5\baselineskip%
		\hbox to\linewidth{\hfil%
			#1%
			\hfil%
		}%
		\vskip-0.5\baselineskip%
		\hbox to\linewidth{\hfil%
			{\drmsym{\char'073}}%
				{\drmsym{\char'112}}%
				{\drmsym{\char'027}}%
				{\drmsym{\char'112}}%
				{\drmsym{\char'110}}\hfil}%
	}%
}%
%    \end{macrocode}
% Next, we define the macros for the extensible rules.  Lots
% of down-and-dirty \TeX\ stuff here.
%    \begin{macrocode}
\newcount\counterA
\newcount\counterB
\newcount\iter
\newlength{\extcharwid}
\newlength{\leftcharwid}
\newlength{\rightcharwid}
\newlength{\greaterwid}
\def\extrule#1#2#3#4#5{%
	\if#1h%
		\settowidth{\extcharwid}{#5}%
		\settowidth{\leftcharwid}{#3}%
		\settowidth{\rightcharwid}{#4}%
		\counterB=\numexpr\dimexpr#2\relax\relax%
		\advance\counterB by-\leftcharwid%
		\advance\counterB by-\rightcharwid%
		\counterA=\dimexpr\extcharwid\relax%
		\divide\counterB by\counterA%
		\iter=0%
		\noindent#3%
		\loop%
			\ifnum\iter<\counterB%
				\advance\iter by 1%
				#5%
				\repeat%
		#4%
	\fi%
	\if#1v%
		\setbox0=\hbox{#3}%
		\leftcharwid=\ht0\advance\leftcharwid by\dp0%
		\setbox0=\hbox{#4}%
		\rightcharwid=\ht0\advance\rightcharwid by\dp0%
		\setbox0=\hbox{#5}%
		\extcharwid=\ht0\advance\extcharwid by\dp0%
		\ifdim\leftcharwid>\rightcharwid%
			\greaterwid=\leftcharwid%
		\else%
			\greaterwid=\rightcharwid%
		\fi\if\extcharwid>\greaterwid%
			\greaterwid=\extcharwid%
		\fi%
		\counterB=\numexpr\dimexpr#2\relax\relax%
		\advance\counterB by-\leftcharwid%
		\advance\counterB by-\rightcharwid%
		\counterA=\dimexpr\extcharwid\relax%
		\divide\counterB by\counterA%
		\iter=0%
		\noindent\vbox to\dimexpr#2{\baselineskip=0pt%
			\hbox to\greaterwid{\hfil#4\hfil}%
			\loop%
				\ifnum\iter<\counterB%
					\advance\iter by 1%
					\vss\hbox to\greaterwid{\hfil#5\hfil}%
					\repeat%
			\vss\hbox to\greaterwid{\hfil#3\hfil}}%
	\fi%
}%
%    \end{macrocode}
% Next, we move on to define the unreasonably complex and
% configurable ellipsis commands.  First we define the
% |\drmelip|, then the four-dotted |\drmfelip|.
%    \begin{macrocode}
\newlength{\drmelipgap}\setlength{\drmelipgap}{2.9pt}
\newlength{\drmelipbef}\setlength{\drmelipbef}{2.4pt}
\newlength{\drmelipaft}\setlength{\drmelipaft}{1.4pt}
\def\drmelipchar{.}
\def\drmelip{%
	\hbox{%
		\hbox to\the\drmelipbef{\hfil}%
		\drmelipchar%
		\hbox to\drmelipgap{\hfil}%
		\drmelipchar%
		\hbox to\drmelipgap{\hfil}%
		\drmelipchar%
		\hbox to\drmelipaft{\hfil}%
	}%
}%
\newlength{\drmfelipbef}\setlength{\drmfelipbef}{0pt}
\newlength{\drmfelipaft}\setlength{\drmfelipaft}{\the\drmelipaft}
\newlength{\drmfelipwid}
\def\drmfelip{%
	\hbox{%
		\hbox to\the\drmfelipbef{\hfil}%
		\drmelipchar%
		\hbox to\drmelipgap{\hfil}%
		\drmelipchar%
		\hbox to\drmelipgap{\hfil}%
		\drmelipchar%
		\hbox to\drmelipgap{\hfil}%
		\drmelipchar%
		\hbox to\drmfelipaft{\hfil}%
	}%
}%
%    \end{macrocode}
% Now, we begin the decorative initials.  These are designed
% using a common background written in \MP\ with a DRM
% figure superimposed, so a great deal of the code in this
% section is, in fact, \MP\ rather than \TeX\ or \MF.
%
% We begin by defining |\drmdecinit|, which takes five
% arguments:  the width, the height, the color of the
% background, the color of the letter, and the letter
% itself.  It includes a \MP\ macro, |along|, derived from
% \url{http://tex.stackexchange.com/questions/176665/define-a-pair-point-along-a-path-length-metapost}.
%    \begin{macrocode}
\def\drmdecinitfontdefault{%
	\def\drmdecinitfont{%
		\unexpanded{\font\drminitfontcom=drm10} 
	}%
}%
\def\drmdecinitfont{%
	\unexpanded{\font\drminitfontcom=drm10}  %
}%
\def\drmdecinit#1#2#3#4#5{%
	\begin{mpost}
	primarydef pct along pat =
		(arctime (pct * (arclength pat)) of pat) of pat
	enddef;
	w=#1; h=#2;
	pen thinpen; thinpen = pencircle scaled (w/288);
	pen medpen; medpen = pencircle scaled (w/144);
	pen thickpen; thickpen = pencircle scaled (w/144 + w/288);
	pen ththickpen; ththickpen = pencircle scaled (w/72);
	pen thththickpen; thththickpen = pencircle scaled (w/36);
	leaflen = w/6.5;
	leafletlen = w/20;
	leafletwid = w/40;
	leafletgap = w/40;
	pen leafpen; leafpen = pencircle xscaled leafletlen
		yscaled leafletwid;
	pen sideleafpen; sideleafpen = pencircle yscaled leafletlen
		xscaled leafletwid rotated -35;
	def border =
		pickup thththickpen;
		draw top lft (0,h)--top rt(w,h)--bot rt(w,0)--bot
			lft(0,0)--cycle withcolor #3;
		pickup ththickpen;
		draw (top lft (0,h)--top rt(w,h)--bot rt(w,0)--bot
			lft(0,0)--cycle) scaled 0.95 shifted (0.025w,0.025h) 
			withcolor #3;
	enddef;
	def leaf(expr p,s,r,t) =
		path leafpath;
		leafpath = ((p shifted (leafletlen/2,0))..
			(p shifted (0,leafletwid/2))..
			(p shifted (-leafletlen/2,0))..
			(p shifted (0,-leafletwid/2))..cycle) 
			rotatedaround (p,s);
		if t = 0:
			fill leafpath withcolor r;
		elseif t = 1:
			fill leafpath reflectedabout
				((w/2,h),(w/2,0)) withcolor r;
		elseif t = 2:
			fill leafpath reflectedabout
				((0,h/2),(w,h/2)) withcolor r;
		elseif t = 3:
			fill leafpath reflectedabout
				((0,h/2),(w,h/2)) reflectedabout ((w/2,h),(w/2,0))
				withcolor r;
		fi
	enddef;
	def branch(expr p,s,b) =
		pickup thickpen;
		pair t; t = p rotatedaround (p,s);
		pair u; u = point 1.0 along (t{dir (s+90)}..
			t shifted (0.3leaflen,leaflen) rotatedaround (t,s));
		pair q; q = (t shifted (1.4leafletwid,0)) rotatedaround (t,s);
		pair v; v = (q shifted (0.3leaflen,leaflen)) rotatedaround (q,s);
		pair r; r = (t shifted (-1.4leafletwid,0)) rotatedaround (t,s);
		pair a; a = (r shifted (0.3leaflen,leaflen)) rotatedaround (r,s);
		if b = 0:
			draw (t{dir (s+90)}..u) withcolor #3;
		elseif b = 1:
			draw (t{dir (s+90)}..u) reflectedabout ((w/2,h),(w/2,0))
				withcolor #3;
		elseif b = 2:
			draw (t{dir (s+90)}..u) reflectedabout ((0,h/2),(w,h/2))
				withcolor #3;
		elseif b = 3:
			draw (t{dir (s+90)}..u) reflectedabout ((0,h/2),(w,h/2))
				reflectedabout ((w/2,h),(w/2,0)) withcolor #3;
		fi
		leaf((point 0.15 along (q{dir (s+90)}..v)),s,#3,b);
		leaf((point 0.45 along (q{dir (s+90)}..v)),s,#3,b);
		leaf((point 0.75 along (q{dir (s+90)}..v)),s,#3,b);
		leaf((point 0.15 along (r{dir (s+90)}..a)),s,#3,b);
		leaf((point 0.45 along (r{dir (s+90)}..a)),s,#3,b);
		leaf((point 0.75 along (r{dir (s+90)}..a)),s,#3,b);
		leaf((point 0.98 along (t{dir (s+90)}..u)),s+60,white,b);
		leaf((point 1.00 along (t{dir (s+90)}..u)),s+60,#3,b);
	enddef;
	def football(expr p) =
		pickup thinpen;
		draw (z26..z30..z31..z26..z32..z33..cycle)
			rotatedaround ((w/2,h/2),p) withcolor #3;
		pickup ththickpen;
		draw (z20..z24..z21) rotatedaround ((w/2,h/2),p)
			withcolor white;
		draw (z21..z25..z20) rotatedaround ((w/2,h/2),p)
			withcolor white;
		draw (z20..tension 1.4..z22..z23..tension 1.5..z20)
			rotatedaround ((w/2,h/2),p) withcolor white;
		draw (z21..tension 1.4..z22..z23..tension 1.5..z21)
			rotatedaround ((w/2,h/2),p) withcolor white;
		pickup medpen;
		draw (z20..z24..z21) rotatedaround ((w/2,h/2),p)
			withcolor #3;
		draw (z21..z25..z20) rotatedaround ((w/2,h/2),p)
			withcolor #3;
		draw (z20..tension 1.4..z22..z23..tension 1.5..z20)
			rotatedaround ((w/2,h/2),p) withcolor #3;
		draw (z21..tension 1.4..z22..z23..tension 1.5..z21)
			rotatedaround ((w/2,h/2),p) withcolor #3;
		fill (z34..z36..z35..z37..cycle) rotatedaround
			((w/2,h/2),p) withcolor #3;
		fill (z38..z40..z39..z41..cycle) rotatedaround
			((w/2,h/2),p) withcolor #3;
		fill (z42..z44..z43..z45..cycle) rotatedaround
			((w/2,h/2),p) withcolor #3;
	enddef;
	border;
	z0 = (w-3.3leafletwid-(w/11),h-leaflen-(w/144));
	z1 = (w/2,2h/3);%h-leafletwid-2pt);
	z2 = z0 reflectedabout ((w/2,h),(w/2,0));
	z3 = (2w/3,h/2);%w-leafletwid-2pt,h/2);
	z4 = z0 reflectedabout ((w,h/2),(0,h/2));
	z5 = z1 reflectedabout ((0,h/2),(w,h/2));
	z6 = z4 reflectedabout ((w/2,h),(w/2,0));
	z7 = z3 reflectedabout ((w/2,h),(w/2,0));
	pickup thickpen;
	draw z0{dir -120}..{left}z1{left}..{dir 120}z2 withcolor #3;
	draw z0{dir -120}..{down}z3{down}..{dir -60}z4 withcolor #3;
	draw z4{dir 120}..{left}z5{left}..{dir -120}z6 withcolor #3;
	draw z6{dir 60}..{up}z7{up}..{dir 120}z2 withcolor #3;
	branch(z0,-30,0);
	branch(z0,-30,1);
	branch(z0,-30,2);
	branch(z0,-30,3);
	z10 = (w/2,h-leafletwid-(w/72));
	z11 = z10 rotatedaround ((w/2,h/2),90);
	z12 = z10 rotatedaround ((w/2,h/2),180);
	z13 = z10 rotatedaround ((w/2,h/2),270);
	path greatcirc; greatcirc = z10..z11..z12..z13..cycle;
	pickup thththickpen;
	draw greatcirc withcolor white;
	pickup ththickpen;
	draw greatcirc withcolor #3;
	z20 = z2 shifted (0,-leafletlen);
	z21 = z6 shifted (0,leafletlen);
	z22 = z11 shifted (leafletlen,0);
	z23 = z7 shifted (-leafletlen,0);
	z24 = 0.25[z11,z7];
	z25 = 0.75[z11,z7];
	z26 = 0.5[z11,z7];
	z27 = 0.25[z2,z6];
	z28 = 0.5[z2,z6];
	z29 = 0.75[z2,z6];
	z30 = 0.5[z11,z2];
	z31 = 0.5[z7,z2];
	z32 = 0.5[z6,z11];
	z33 = 0.5[z6,z7];
	z34 = z26 shifted (-leafletlen,0);
	z35 = z26 shifted (leafletlen,0);
	z36 = z26 shifted (0,leafletwid);
	z37 = z26 shifted (0,-leafletwid);
	z38 = z27 shifted (-0.8leafletwid,0);
	z39 = z27 shifted (0.8leafletwid,0);
	z40 = z27 shifted (0,0.8leafletlen);
	z41 = z27 shifted (0,-0.8leafletlen);
	z42 = z29 shifted (-0.8leafletwid,0);
	z43 = z29 shifted (0.8leafletwid,0);
	z44 = z29 shifted (0,0.8leafletlen);
	z45 = z29 shifted (0,-0.8leafletlen);
	football(0);
	football(90);
	football(180);
	football(270);
	z50 = z1 shifted (0,-leafletwid);
	z51 = z3 shifted (-leafletwid,0);
	z52 = z5 shifted (0,leafletwid);
	z53 = z7 shifted (leafletwid,0);
	z54 = 0.4[(w/2,h/2),(0,h)];
	z55 = 0.4[(w/2,h/2),(w,h)];
	z56 = 0.4[(w/2,h/2),(w,0)];
	z57 = 0.4[(w/2,h/2),(0,0)];
	pickup thickpen;
	draw z50..z51..z52..z53..cycle withcolor #3;
	pickup medpen;
	draw z50{left}..z54 withcolor #3;
	draw z50{right}..z55 withcolor #3;
	draw z51{up}..z55 withcolor #3;
	draw z51{down}..z56 withcolor #3;
	draw z52{right}..z56 withcolor #3;
	draw z52{left}..z57 withcolor #3;
	draw z53{down}..z57 withcolor #3;
	draw z53{up}..z54 withcolor #3;
	z60 = z50 shifted (0,-leafletwid);
	z61 = z51 shifted (-leafletwid,0);
	z62 = z52 shifted (0,leafletwid);
	z63 = z53 shifted (leafletwid,0);
	z64 = (w/2,h/2) shifted (0,leafletlen);
	z65 = (w/2,h/2) shifted (leafletlen,0);
	z66 = (w/2,h/2) shifted (0,-leafletlen);
	z67 = (w/2,h/2) shifted (-leafletlen,0);
	z68 = 0.5[z64,z65];
	z69 = 0.5[z65,z66];
	z70 = 0.5[z66,z67];
	z71 = 0.5[z67,z64];
	z72 = 0.5[z60,z61];
	z73 = 0.5[z61,z62];
	z74 = 0.5[z62,z63];
	z75 = 0.5[z63,z60];
	z76 = 0.2[z71,z75];
	z77 = point 0.4 along (z63{up}..{right}z60);
	z78 = point 0.6 along (z63{up}..{right}z60);
	z79 = 0.6[z63,z76];
	pickup thinpen;
	path innerbord; innerbord = 
		z60{z64-z60}..z71..{z63-z67}z63{up}..{right}z60;
	draw innerbord withcolor #3;
	draw innerbord rotatedaround ((w/2,h/2),90) withcolor #3;
	draw innerbord rotatedaround ((w/2,h/2),180) withcolor #3;
	draw innerbord rotatedaround ((w/2,h/2),270) withcolor #3;
	label(btex {\drmdecinitfont at#2\unexpanded{\drminitfontcom} #5} etex,(w/2,h/2)) 
		withcolor #4;
	\end{mpost}
}
%    \end{macrocode}
% And that's the end.  Thanks for reading, 
% folks; please email me with any suggestions or improvements.
%
% \appendix
%
% \section{The Secret History:  Building DRM}
%
% \lettrine{H}{ere you can get all} the answers to questions about DRM
% that you didn't have and never asked.  This appendix is
% essentially an exercise in self-gratification, to explain
% a few things about the fonts and why I made some of the
% choices that I did.  As such, it'll probably be
% interesting to few, if any; but here it all is anyway.
%
% \subsection{About the Name}
% \label{sub:aboutname}
%
% When I started this font, I was trying to ape an old-style
% Caslon specimen that I'd found on the Internet.  (If you
% search for one, you'll doubtlessly find the one I was
% going for; it's littered all over the place.)  You can
% still see certain traces of this, particularly in the long
% tail of the Q (there it is!), and in the serifs on the E
% and F.  On the other hand, even at the very beginning,
% before the font had taken on a character of its own, I was
% doing a pretty poor job of imitating this other one.  My
% serifs were fairly prominent, but only slightly bracketed;
% there was a pretty drastic distinction between thick and
% thin strokes; it had a vertical orientation.  Before long,
% it was clear that I had a very different font.
%
% So the name was ``DRM,'' for ``Day Roman Modern.''  But
% this didn't really accurately describe the font, and it
% didn't keep this meaning for long.  (Maybe a few days; the
% original files were titled ``dayroman,'' an even more
% inaccurate appellation.)  I've since backronymed this to
% ``Don's Revised Modern,'' which still isn't strictly
% correct, but it's pretty well ensconced at the moment.
% There are a limited number of descriptors with those
% initials, and I've grown pretty fond of those initials; it
% would be difficult for me to think of the font with any
% other name.  But if somebody has a better backronym, I'd
% love to hear it.
%
% \subsection{Why \MF?}
% \label{sub:whymf}
%
% So why \MF?  Isn't \MF\ horribly out of date,
% unconscionably producing nasty, decrepit bitmapped glyphs
% instead of shiny, futuristic outlines?  Doesn't it somehow
% involve hatred of mom's apple pie, summertime barbecues,
% and the girl next door?
%
% Well, in some ways \MF\ is certainly out of date.  It's
% limited to eight bits (\liningnums{2}$^8$ characters), for example, and
% that limit can't be circumvented by any trivial means.
% Due to the brilliance of its author, it has several
% similar limits which, while seeming arbitrary and
% capricious to us today, were absolutely necessary for
% allowing \MF\ to run on the machines available at the time
% it was produced.  There's really no denying this, and I'd
% be the last to try.
%
% On the other hand, \MF\ is not out of date for the reasons
% most people who eloquently pronounce its obsolescence believe
% it is.  The bitmapped glyph issue, for example; there
% really is nothing wrong with this.  In fact, in some ways
% it's a benefit.  Scaling is not really an issue,
% particularly in this age when \MF\ can be run
% automatically when \TeX\ encounters a size that it doesn't
% already have on hand; we can easily acquire fonts of
% whatever size we need.  And, much like \MF's eight-bit
% stricture, whatever memory benefits come from storing
% fonts as outlines rather than bitmaps is surely irrelevant
% in this day and age.
%
% Bitmaps are beneficial in that they remind us that optical
% sizing is still important; outline fonts have made us
% lazy, preventing the development of real font families
% with many optical sizes.  Too many amateurs (a term I use
% without derision, and proudly apply to myself) think they
% can avoid designing optical sizes because their outlines
% can be automatically scaled.  This leads to poor results.
%
% But most importantly, \MF\ makes writing
% parameter-based fonts easy.  The \textb{bold} and
% \textl{light} versions of the DRM fonts, for example, were
% produced by modifying only a few parameters of the base
% DRM roman font; the actual letterforms remain the same.
% This is a powerful tool that assists greatly in the
% creation of \emph{families} of fonts.
%
% \MF\ also lends itself quite nicely to customization.  As
% a command-line program, I can easily script it to produce
% proofs, or to produce real fonts for inclusion in test
% documents, or to produce font charts, or all of the above.
% For example, your author used scripts to compile proofs as
% well as working fonts to produce this documentation; it
% was relatively trivial to produce a script which would,
% inelegantly but quite effectively, output proof sheets and
% sample texts along with charts of each individual font,
% from simple roman text to quite complex math.  Below is an
% example of the (rather messy, but functional) script I
% used to produce font charts and sample texts for the
% fonts:
%
% \begin{verbatim}
% #!/bin/bash
% # +AMDG
% 
% re="^drm([m|b|bx|c|sym]*)([n|it|sl|sc]*)([0-9]{1,2})$";
% ifmath="mmi";
% ifmathsym="sy[0-9]";
% font=$1;
% fname="drm";
% fenc="T1";
% commands="\\sample\\bye";
% if [[ $font =~ $ifmath ]]; then
% 	fenc="OML";
% 	commands="\\table\\math\\bye";
% fi
% if [[ $font =~ $ifmathsym ]]; then
% 	fenc="OMS";
% 	commands="\\table\\math\\bye";
% fi
% [[ $font =~ $re ]] && fweight="${BASH_REMATCH[1]}" &&
% 	fshape="${BASH_REMATCH[2]}" && fsize="${BASH_REMATCH[3]}";
% if [[ $fshape == "" ]]; then
% 	fshape="m";
% fi
% if [[ $fweight == "" ]]; then
% 	fweight="n";
% elif [[ $fweight == "sym" ]]; then
% 	fweight="n";
% 	fname="drmsym";
% fi
% #echo "fweight = $fweight; fshape = $fshape; fsize = $fsize";
% nfssfontin=$(cat <<ENDFONTIN
% $font
% $commands
% $fenc
% $fname
% $fweight
% $fshape
% $fsize
% $commands
% ENDFONTIN
% )
% echo $nfssfontin;
% 
% rm $1*pk; rm $1*gf;
% mf "\mode=localfont; input $1";
% gftopk $1.600gf $1.pk;
% echo "$nfssfontin" | pdflatex nfssfont;
% \end{verbatim}
%
% This little gem took a single argument, the name of the
% font that I wanted compiled; it then determined the
% appropriate parameters to hand over to |nfssfont|, including
% what type of sample was needed (text or math), and
% compiled it for me, which meant that with a single command
% (|./allcomp fontname|) I could get a complete chart of
% the font I was working on, along with a sample text to
% help judge kerning and general appearance.  Doing the same
% with more ``modern'' font programs, particularly GUI ones,
% is doubtlessly more difficult.
%
% Finally, pens.  Pens are \emph{endlessly} superior to
% defining points along outlines.  The degree to which
% grokking and employing \MF's pen metaphor simplified the
% task of drawing these characters, particularly the more
% calligraphic varieties thereof, simply cannot be
% adequately expressed.  Defining points along outlines and
% connecting them with zero-width lines did fine for
% \emph{most} of the roman characters, but would have been
% painfully sluggish with, for example, the italic fonts.
%
% Your author emphasized ``most'' above for good reason:
% while the points-and-outlines approach worked quite
% effectively for the stately forms of roman characters, 
% \emph{modifying} those characters was sometimes much more
% difficult.  Take, for example, the very basic different
% between ``o'' and ``\o.''  Visually, of course, these are
% almost identical shapes, the latter simply having a line
% drawn through it; however, by outlines these shapes are so
% extremely different that drawing the latter would more
% easily be done from scratch than by a simple modification
% of the former.  Using \MF's pen metaphor, though, the
% shape of ``\o'' could be drawn exactly as we would draw it
% on paper:  by forming an ``o,'' and then drawing a slash
% through it.  And so your author accomplished it.
%
% And though your author put off the development of italic
% until he'd become really proficient with \MF's pens,
% knowing that such intricate shapes as ``\textit{f}'' and
% ``\textit{Q}'' would be quite challenging with
% points-and-outlines, he was able to race through drawing
% the italics with ease, and wound up using \MF's pens much
% more frequently in the development of the remaining fonts
% than points-and-outlines, as drawing shapes with this
% metaphor is much more intuitive and easily visualized, at
% least to him, than the alternatives.
%
% \section{The \LaTeX\ Project Public License, v1.3c}
% \label{lppl}
% \MakePercentComment\input{lppl-1-3c.tex}\MakePercentIgnore
%
% \section{The SIL Open Font License, v1.1}
% \label{sil}
% 
% Copyright \textcopyright\ 2014, Donald P. Goodman III
% (dgoodmaniii@gmail.com), with Reserved Font Name Don's
% Revised Modern (DRM).
% 
% \input{ofl_v1-1.tex}
%
% \PrintIndex
