From 38c84cadb36d10afd999158cd065d871308ce45d Mon Sep 17 00:00:00 2001
From: Philipp Gesang <phg@phi-gamma.net>
Date: Wed, 20 Apr 2016 00:06:40 +0200
Subject: [doc] expand chapter on font combos

---
 doc/luaotfload-main.tex | 56 ++++++++++++++++++++++++++++++++++++++++++++++++-
 1 file changed, 55 insertions(+), 1 deletion(-)

(limited to 'doc')

diff --git a/doc/luaotfload-main.tex b/doc/luaotfload-main.tex
index fdca3c0..c8546ff 100644
--- a/doc/luaotfload-main.tex
+++ b/doc/luaotfload-main.tex
@@ -816,6 +816,8 @@ advance as well as a special \emphasis{request syntax}. Furthermore, this
 allows to define \emphasis{fallback fonts} to supplement fonts that may lack
 certain required glyphs.
 
+\beginsubsection {Fallbacks}
+
 For example, the \identifier{Latin Modern} family of fonts does, as indicated
 in the name, not provide Cyrillic glyphs. If Latin script dominates in the copy
 with interspersed Cyrillic, a fallback can be created from a similiar looking
@@ -832,7 +834,59 @@ that it too derives from Knuth’s original \identifier{Computer Modern} series:
   \bye
 \endlisting
 
-TODO
+As simple as this may look on the first glance, this approach is entirely
+inappropriate if more than a couple letters are required from a different font.
+Because the combination pulls nothing except the glyph data, all of the
+important other information that constitute a proper font -- kerning, styles,
+features, and suchlike -- will be missing.
+
+\endsubsection %% Fallbacks
+
+\beginsubsection {Combinations}
+
+Generalizing the idea of a \emphasis{fallback font}, it is also possible to
+pick definite sets of glyphs from multiple fonts. On a bad day, for instance,
+it may be the sanest choice to start out with \identifier{EB Garamond} italics,
+typeset all decimal digits in the bold italics of \identifier{GNU Freefont},
+and tone down the punctuation with extra thin glyphs from \identifier{Source
+Sans}:
+
+\beginlisting
+  \def \feats     {-tlig;-liga;mode=base;-kern}
+  \def \fileone   {EBGaramond12-Italic.otf}
+  \def \filetwo   {FreeMonoBoldOblique.otf}
+  \def \filethree {SourceSansPro-ExtraLight.otf}
+
+  \input luaotfload.sty
+
+  \font \one   = file:\fileone  :\feats
+  \font \two   = file:\filetwo  :\feats
+  \font \three = file:\filethree:\feats
+
+  \font \onetwothree = "combo:  1 -> \fontid\one;
+                                2 -> \fontid\two,   0x30-0x39;
+                                3 -> \fontid\three, 0x21*0x3f;
+
+  {\onetwothree \TeX—0123456789—?!}
+  \bye
+\endlisting
+
+\noindent Despite the atrocious result, the example demonstrates well the
+syntax that is used to specify ranges and fonts. Fonts are being referred to by
+their internal index which can be obtained by passing the font command into the
+\texmacro{fontid} macro, e. g. \inlinecode{\fontid\one}, after a font has been
+defined. The first component of the combination is the base font which will be
+extended by the others. It is specified by the index alone.
+
+All further fonts require either the literal \inlinecode{fallback} or a list of
+codepoint definitions to be appended after a comma. The elements of this list
+again denote either single codepoints like \inlinecode{0x21} (referring to the
+exclamation point character) or ranges of codepoints (\inlinecode{0x30-0x39}).
+Elements are separated by the \identifier{ASCII} asterisk character
+(\inlinecode{*}). The characters referenced in the list will be imported from
+the respective font, if available.
+
+\endsubsection %% Combinations
 
 \endsection
 
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