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diff --git a/fonts/oldstandard/doc/oldstand-manual.tex b/fonts/oldstandard/doc/oldstand-manual.tex deleted file mode 100644 index b9d9e05953..0000000000 --- a/fonts/oldstandard/doc/oldstand-manual.tex +++ /dev/null @@ -1,3064 +0,0 @@ -\documentclass[12pt,a4paper,openany]{book} - -\usepackage{OldStandard} - -\usepackage{xunicode} -%\usepackage{xltxtra} -\defaultfontfeatures{Mapping=tex-text} -\usepackage{polyglossia} -\setdefaultlanguage{english} -\setotherlanguage[variant=ancient]{greek} -\setotherlanguage{russian} - - -\hoffset=-1in -\voffset=-1in -\oddsidemargin=30mm -\evensidemargin=20mm -\textwidth=160mm -\textheight=240mm - -\catcode"2019=12 -\lccode"2019="2019 - -\usepackage{array} -\usepackage{longtable} -\newcolumntype{B}[1]{>{\large\bfseries}c{#1}} -\newcolumntype{T}[1]{>{\ttfamily}l{#1}} -\usepackage[colorlinks=true]{hyperref} - -\usepackage{float} -\restylefloat{table} - -\providecommand{\XeTeX}{X\kern-.125em\lower.5ex\hbox{Ǝ}\kern-.1667em\TeX} -\providecommand{\XeLaTeX}{X\kern-.125em\lower.5ex\hbox{Ǝ}\kern-.125em\LaTeX} -\providecommand{\LuaTeX}{Lua\kern-.125em\TeX} - -\newcommand{\ie}{i.\,e.} -\newcommand{\eg}{e.\,g.} -\renewcommand{\omit}[1]{} - -\makeatletter -\renewcommand\tableofcontents{% -\chapter*{\contentsname}% -\thispagestyle{empty} -\markboth{Table of contents}{Table of contents} -\@starttoc{toc}% -} -\makeatother -\sloppy - -\begin{document} - -\pagestyle{empty} - -\vspace*{\stretch{0.4}} - -\begin{center} - -{\fontsize{48}{56}\selectfont OLD STANDARD} - -\bigskip - -{\huge A Unicode Font\\ for Classical and Medieval Studies - -} - -\bigskip - -\rule{\textwidth}{0.5pt} - -\bigskip - -{\Large\itshape User’s manual\\ -Version 2.3 -} - -\bigskip - -\rule{\textwidth}{0.5pt} - -\vspace{\stretch{1}} - -{\Large Alexey Kryukov } - -\vspace*{3ex} -{\large Edited for CTAN by Bob Tennent} - -\vspace{\stretch{0.6}} - -\end{center} - -\clearpage - -\vspace*{\stretch{1}} - -This manual is set in Old Standard with Latin Modern fonts used for missing -styles (\eg, typewriter fonts). - -\vspace{\stretch{0.1}} - -Copyright © 2006--2011 Alexey Kryukov. - -Permission is granted to copy, distribute and/or modify this document -under the terms of the GNU Free Documentation License, Version 1.2 -or any later version published by the Free Software Foundation; -with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. -A copy of the license is included in the section entitled “GNU -Free Documentation License”. - -\vspace{\stretch{0.2}} - -\clearpage - -\setcounter{page}{1} - -\tableofcontents - -\pagestyle{headings} - -\chapter{About Old Standard} -\thispagestyle{empty} - -Anybody who has ever thumbed through any old books printed in the late -19\textsuperscript{th} or early 20\textsuperscript{th} century may have -noted a specific typeface style most commonly used at that time: basically, -a variation of the modern (classicist) antiqua, but with less contrast and greater -legibility. This group of typefaces also had an accompanying style of italics -with some specific shapes: \textit{k} with the upper leg terminating with a -rounded ball, open bowl on \textit{g} (again, with a rounded ball at its end), -curved bowl on \textit{y} and so on. Maybe you were wondering, why is it so -difficult to find a digital typeface of similar style, despite the vast -number of computer fonts currently available. In general, the Modern style -was almost completely abandoned in the middle 20\textsuperscript{th} -century, as it no longer corresponded to the tastes of the time; moreover, -contemporary typographers often consider this lettertype obsolete and -out-of-fashion due to its “unnaturality”. - -Nevertheless, the classicist style in general, and its modification used in -the early 20\textsuperscript{th} century in particular, has at least one -advantage: it is still very suitable for typesetting scientific papers, -especially on social and humanitarian sciences, as its specific features -are closely associated in people’s eyes with old books they learned on. -However, it would be even more important to stress the fact that book -printing in many non-Western languages first appeared or was greatly -improved in the 19\textsuperscript{th} century, and thus many classical -typefaces for non-Latin scripts (the most beautiful examples of Greek and -Cyrillic lettertypes in particular) were designed to be harmonizable with -the Modern faces~— the standard Roman printing style of the time. - -That’s why the Modern style should be considered an extremely good choice -for typesetting multilingual texts, and so I am really surprised that -nobody has yet attempted to implement a multilingual typeface on this basis. -Instead, multilingual typesetting is usually done with Times-styled fonts, -which eliminate specific features of each script instead of stressing them. -This is the main reason why I designed Old Standard, a -multilingual font which attempts to revive the most common printing style -of the early 20\textsuperscript{th} century. Old Standard has two main -purposes: it is intended to be used as a specialized font for philologists -(mainly classicists and slavists) and also as a general-purpose font for -typesetting various editions in languages that use Greek or Cyrillic -script. For this reason Old Standard provides glyphs for a wide range of -Latin, Greek and Cyrillic characters. - -\section{Origin and Design} - -Old Standard was first intended as a digital version of -\textit{Обыкновенная} (Standard) typeface found in the following font -catalogues printed in the Soviet Union: - -\begin{figure} - -\centerline{\XeTeXpicfile "stand-su.png" width 160mm} - -\caption{The regular version of the Russian “Standard” typeface from the -1966 font catalogue} - -\label{fig:stand-su} - -\end{figure} - -\begin{otherlanguage}{russian} - -\begin{itemize} - -\item Каталог ручных и машинных шрифтов. М.: Книга, 1966. - -\item Каталог ручных шрифтов и наборных украшений. Харьков: Прапор, 1973. - -\end{itemize} - -\end{otherlanguage} -That’s where the name originates from: I have only added “Old” to -stress the difference from \textit{Обыкновенная Новая} (“New Standard”)~— -another, a bit similar and yet quite different typeface, much more -popular in the Soviet typography. Currently there is a good digital version -of New Standard, available from \href{http://www.paratype.ru}{Paratype}, -so I was not planning to reproduce it. - -Later, however, I realized that the \textit{Обыкновенная} typeface, as it -was used in Soviet printing of the second half of the -20\textsuperscript{th} century, is not an independent family, but rather a -bunch of various sets inherited from pre-1917 Russian typography. So I had -to improve the initial design basing mainly on various Russian and German -editions of the late 19\textsuperscript{th} and early -20\textsuperscript{th} centuries, mainly manuals of ancient languages and -editions of classical (Greek and Latin) authors, where I could find good -examples of Latin, Greek, and, in the case of Russian books, also Cyrillic -letters, used alongside. I have also bought the following font catalogue, -which, unlike later Soviet catalogues, contains examples of several -“Standard” typefaces, so that I could compare the letterforms and select -those I considered the most elegant: -\foreignlanguage{russian}{Государственный трест ВСНХ «Полиграф». Образцы -шрифтов. М., 1927}. - -Thus the current version of Old Standard doesn’t reproduce any particular -typeface, but rather attempts to revive the general style of the early -20\textsuperscript{th} century typography (mostly Russian and German). -Nevertheless, I have decided to keep the initial name: of course, it -doesn’t look very original, but seems to be a good choice for a lettertype -that was once so common that no special name was associated with it -(typefaces of this style are usually called just “Standard” or “Modern” in -old font catalogues). - -\section{Greek font design} - -The Greek characters in Old Standard require a separate note. The upright -letters follow the style first introduced by the famous French typecutter -Firmin Didot and then widely used in various editions both in Greece itself -and many other European countries. It would be no exaggeration to state that -most Greek editions printed in continental Europe for more than -100 years were set with Didot faces. So it is no wonder that digital versions -of this design have already been created by several type foundries. However -almost all these fonts either cover just the Greek script and provide no -support for Latin (not to say Cyrillic) characters, or combine Didot's Greek -design with a stylistically incompatible (usually Times-styled) Latin face. -Most of them (even some hightly overpriced commercial products) also -don't meet my quality standards. - -\begin{figure}[htb] - -\centerline{\XeTeXpicfile "didot-fr.png" width 160mm} - -\caption{An excerpt from a French edition typeset with a Didot face. The -example is taken from: Les hanrangues de Démosthène. Text grec publié -d’après les travaux les plus récents de la philologie avec un commentaire -critique et explicatif, une introduction générale et des notices sur chaque -discours par Henri Weil. Deuxieme édition entèrement revue et corrigée. -Paris, 1881.} - -\hypertarget{fig:didot-fr}{}\label{fig:didot-fr} - -\end{figure} - -A notable exception is -\href{http://www.greekfontsociety.org/pages/en\_typefaces.html}{GFS Didot}, -now available for free from the \href{http://www.greekfontsociety.gr/}{Greek -Font Society}. Unlike many others, the designers of this font did care about -a matching Latin face, but, surprisingly, their choice has nothing to do -with the classicist style: instead, they implemented their font as an -accompanying Greek family for Adobe Palatino. For this reason the proportions -and metrics of GFS Didot are quite different from those of original Greek -Didot; in particular ascenders and descenders are significantly shorter. -The Unicode version now comes with its own Latin alphabet, but, again, it -is based mostly on the Palatino design, although some glyph features are -adapted to the geometrical shapes of Greek capitals. The resulting font -may be very elegant, but, again, it is not suitable to reproduce the authentic -look of old editions, and essentally should have not been called Didot -due to a different style of its Latin part. - -\begin{figure}[htb] - -\centerline{\XeTeXpicfile "didot-de.png" width 160mm} - -\caption{A modification of the Didot style, used in German editions. The -example is taken from: Herodoti Historiae. Recensuit Henricus Stein. Tomus -II. Berolini, 1871. P.~318.} - -\hypertarget{fig:didot-de}{}\label{fig:didot-de} - -\end{figure} - -It should also be noted that the historic Didot style had several variations; -in particular its \hyperlink{fig:didot-de}{German version} (popular also in -Russia) is slightly different from the \hyperlink{fig:didot-fr}{font used in -French editions of the same time}. Old Standard seems to be the only digital -typeface that follows mostly the German and Russian understanding of the -Didot style, although for some characters (\eg, Greek circumflex) I have -preferred French forms, considering them more elegant. - -\begin{figure}[htb] - -\centerline{\XeTeXpicfile "teubner.png" width 160mm} - -\caption{An example of the Teubner Greek font, taken from: Herodotus für -den Schulgebrauch erklärt. Von Dr. K.~Abicht, Direktor des Gymnasiums zu -Ols. Vierter Band. Buch~VIII. Dritte verbesserte Auflage. Leipzig, 1882. -S.~192.} - -\hypertarget{fig:teubner}{}\label{fig:teubner} - -\end{figure} - -Designing an italic style for a Greek typeface represents a separate -problem. Most modern implementations of Greek Didot are accompanied with -italic versions obtained by applying a slant to the upright glyphs. I have -chosen a different solution: instead of creating a slanted version of -the Didot family (completely unknown to traditional typography), I have -based my italics on various cursive Greek fonts actually used in the German -typography of the early 20\textsuperscript{th} century. The most elegant of -those fonts was the face used by the famous Teubner publishing house in -Leipzig for their editions of classical authors. - -Surprisingly, until recently nobody has attempted to implement a digital version -of the \hyperlink{fig:teubner}{Teubner Greek font}, and this is a pity, -because Teubner editions are still considered a model of fine Greek -printing in Germany, Russia and, I think, many other European countries, -exactly like the Loeb classical library in the Anglo-American world. It -should be noted here that the actual Teubner typeface is sometimes -confused with another cursive Greek font, also called “λιπσιακό” in Greece, -which does have some digital implementations, in particular Monotype Greek -91 and the grml/grbl fonts which Claudio Beccari has designed to provide a -matching italic font for his CB Greek package. Indeed, a similar font was -sometimes used in Leipzig editions (mainly for headings), but it is quite -different from the standard text face these editions are set with. - -I should admit however, that even Old Standard Italic doesn’t provide an -authentic reproduction of the Teubner font. The problem is that the Greek -letters used in Leipzig editions are a bit bolder than their accompanying -Latin face, so that it was really difficult to bring them into a better -correspondence with Latin and Cyrillic glyphs. That’s why I had to consider -also some less elegant, but lighter Greek typefaces used by other printing -houses in Germany at the same time. I hope however that the general style -of the Teubner font is preserved, so that anybody who likes Leipzig -editions of classical authors will like Old Standard as well. - -\omit{ - -\chapter{Installation and Usage} -\thispagestyle{empty} - -\section{Obtaining Old Standard} - -If you are reading this document, then you probably have already downloaded -Old Standard. You may check if you have the most recent version by visiting -the following page at the Thessalonica web site: - -\href{http://www.thessalonica.org.ru/en/fonts.html} -{\texttt{http://www.thessalonica.org.ru/en/fonts.html}} - -This page contains information about all font projects I am currently -developing and download links. - -\section{Which format to prefer?} - -The Old Standard font family is currently available in two formats, so that -before downloading fonts you should consider with which software you are -planning to use them: - -\begin{description} - -\item[\XeTeXpicfile "truetype.png"] TrueType fonts, or, more precisely, -\hyperlink{OT}{OpenType} fonts with TrueType outlines; - -\item[\XeTeXpicfile "opentype.png"] \hyperlink{OT}{OpenType} fonts with -PostScript outlines (also called OpenType-CFF). - -\end{description} - -Note that fonts in those two formats have different file extensions: -\texttt{*.ttf} for TrueType, \texttt{*.otf} for OpenType-CFF -(this is the convention most font developers currently follow). -There also used to be a small difference in Windows icons: while \texttt{*.otf} -files appear in a folder or on a disk with a dog-eared page icon -showing a slanted letter “O” (for OpenType), an old icon with two overlapping -“T’s” has been used for TrueType fonts. It is worth pointing out, that the -icon was misleading, since the TrueType version of the Old Standard -family beginning from the very first releases supported the same set of -advanced \hyperlink{OT}{OpenType} features as its OpenType-CFF counterpart -(see \autoref{i18n} for information on how to take advantage of those -features). - -The reason for displaying the old icon is that Windows checks the presense of -a digital signature in a TrueType font, considering (quite illogically) -this would allow to distinguish “old” TrueType fonts from “modern” OpenType -fonts with TrueType outlines. This is not a problem by itself, but it -has recently been reported that Microsoft Word 2010 (the first version -with optional OpenType features support) has adopted the same approach -and doesn't allow to access optional features in a TrueType font which -is not digitally signed. So now my TTF fonts contain a dummy digital signature -(which seems sufficient to fool both Windows Explorer and Word), and thus -appear with the same “O” icon as the OTF versions. - -The two formats are different in many aspects, which are important -from a developer's point of view, but almost not noticeable for an ordinary -user. In particular, OpenType-CFF fonts use PostScript oputlines, based -on third-order (cubic) Beziér curves, while in TrueType fonts second-order -(quadratic) splines are used. There is also a significant difference in -hinting (grid-fitting) area: TrueType hints theoretically allow to -achieve much better quality of screen rendering, but quality hinting is a -very difficult and time-consuming process. - -Note that it is possible to install both TrueType and OpenType-CFF versions -alongside: in order to prevent name clashes a “TT” suffix is appended to -font name/family name fields in TrueType fonts. Thus you can compare both -versions and decide which one better fits your needs. In the older versions -of this manual I recommended installing TrueType versions, since this -format used to be better supported in many applications on various -platforms. However most of the problems with OpenType-CFF fonts have been -fixed in recent software releases. In particular: - -\begin{itemize} - -\item In most Windows programs (except Adobe's desktop publishing applications) -\textit{kerning}\footnote{Kerning is the adjustment of space between pairs -of letters, especially by placing two characters closer together than -normal. Kerning makes certain combinations of letters, such as WA, MW, -TA or VA, look better. Kerning data is specific for each particular font -and for this reason is normally specified in the font file; carefully -designed fonts normally have a large number of kerning pairs.} worked -only for the first 256 characters in the font. Of course this means that -you couldn't get kerning working neither for Greek nor for Cyrillic -letters. This issue seems to no longer exist in Windows Vista/7; - -\item older version of OpenOffice.org didn't embed OpenType-CFF fonts into PDF -files. Moreover, under Unix-like systems OpenOffice.org could not access -such fonts at all, so that using TTF versions was the only option. This -is fixed in OpenOffice.org 3.2 (and LibreOffice). - -\end{itemize} - -Thus selecting one of two formats is now essentially a matter of taste. -Since Old Standard has been drawn in cubic splines (and then converted to -quadratic for the TTF version), and since it still has only autogenerated -TrueType hints, the OpenType-CFF format may theoretically give you even -a better screen rendering quality. However note that only the -TTF version currently supports the \hyperlink{Graphite}{Graphite} -rendering technologie (this is a limitation of the technologie itself), -and this might be a reason to still prefer TrueType fonts for -OpenOffice.org/LibreOffice users. - -\section{Source Package} - -You also can download the FontForge sources of the Old Standard font family. -Of course this package may be useful for you only if you have the -\href{http://fontforge.sourceforge.net}{FontForge} font editor, as well -as some other font editing utilities, and know how to use them. -Note that downloading the source package may make a sense for you only -if you are going to apply some modifications to the original files, i.~e. -to prepare your own version of the fonts. Please consult the -\hyperlink{license}{Terms of Use} section of this document to see which -license conditions should be met when distributing such derivative works. - -Sometimes I am getting e-mails from packagers of Linux distributions -asking if they could build Old Standard from sources just like they used to -do for application executables. Well, I can't prohibit this (as the fonts -are available under a free license and even the name itself is not reserved, -as explained \hyperlink{license}{below}) but \textbf{I strongly discourage -doing so}. The reason is that, despite the common name, font sources aren't -very much like application sources, and similarly TTF or OTF fonts have very -few common with compiled programs. When an application is built from sources, -the resulting files are usually suitable only for a particular platform or -system and cannot be used in other environments. Fonts represent just an -opposite case: font sources are specific for a particular font editing -application, while the output files are suitable for various platforms and -can be easily disassembled/opened/edited. - -This means rebuilding fonts from sources will not give you any productivity -improvements, but you can easily lose some functionality (e. g. because -your FontForge version doesn't work exactly like one I used to build the -original font files). That's why I can recommend this approach only of you -know what are you doing and your intent is to apply some real changes/ -improvements to the font sources. - -\section{System Requirements} - -\subsection{Windows} - -Old Standard is a large Unicode font. - -For Windows, you need at least Windows 95 (or at least Windows 2000 for the -PostScript-flavored OpenType fonts) and a word processor that can handle -Unicode-based documents, such as Microsoft Word 97 and above, -\href{http://www.openoffice.org}{OpenOffice.org} 1.0 and above, -or \href{http://www.libreoffice.org}{LibreOffice}, which has -splitted from the OpenOffice.org project in 2010 and has now superseded -it in most Linux distributions. - -You will also need a way to enter the Unicode characters that are not -directly accessible from standard keyboards. Remember that you can browse -the contents of any font and copy characters to the clipboard by using the -Character Map utility that comes with Windows. Character Map does not -support Unicode values beyond the Basic Multilingual Plane; an excellent -alternative is Andrew West’s -\href{http://www.babelstone.co.uk/Software/BabelMap.html}{BabelMap} -(free). Some applications also provide their own mechanisms for entering -characters, such as Insert→Symbol in MS Word or Insert→Special Character -in OpenOffice.org/LibreOffice. In Microsoft Office applications you can also enter -a Unicode character by typing its hexadecimal number followed by -\texttt{ALT-x}. - -Of course inputting Unicode characters via a character table or accessing -them directly by their hexadecimal codes has some significant -disadvantages: first, it is relatively slow and so may be used only for -characters which you need relatively rare, and second, it may be -recommended only for experienced users, since Unicode includes a lot of -similar characters, which, however, are intended for different purposes, so -that sometimes it is difficult to make the correct choice without -consulting the documentation. So normally you will need a special keyboard -utility allowing to input characters needed for the language of your -choice. Some custom keyboard layouts for such languages as Classical Greek -are provided by my \href{http://www.thessalonica.org.ru}{Thessalonica} -package. Alternatively, you may use -\href{http://www.tavultesoft.com/keyman/}{Tavultesoft Keyman}~— the -leading keyboard mapping utility, providing an extensive range of features. -There is a large number of keyboard layouts already designed for -Tavultesoft Keyman, so you probably just have to check -\href{http://www.tavultesoft.com/keyman/downloads/keyboards/}{the list of -available keyboard} to select one or more which are suitable for your -needs. - -\subsection{Linux and X11 Windowing Environment} - -Most Unix-like systems now use the same basic framework, called X Window -System (commonly X or X11) to build graphical user interfaces. This means -that all issues related with font installation and usage are basically the -same, no matter, if you use Linux, BSD, Solaris or some other system. In -order to be able to handle TrueType or OpenType fonts your system should -have the \href{http://freetype.sourceforge.net}{freetype} library installed -and enabled; this is normally done by default in all modern distributions. -As under Windows, you will need a Unicode-aware word processor. Presumable -you will do most of your work in OpenOffice.org or LibreOffice; other, less powerful word -processors, like AbiWord or KWord, support Unicode as well. - -As under Windows, you may input Unicode characters using either a character -map utility (both the most full-featured X11-based desktop environments, -KDE and Gnome, include such utilities, comparable with the Windows -Character Map), or a special keyboard driver. Again, you can try -\href{http://www.thessalonica.org.ru}{Thessalonica} for OpenOffice.org. -Another good choice is \href{href://kmfl.sourceforge.net}{kmfl}~— a -keyboarding input method which aims to bring Tavultesoft Keyman -functionality to *nix operating systems. KMFL is being jointly developed by -\href{http://www.sil.org}{SIL International} and -\href{http://www.tavultesoft.com}{Tavultesoft}. Note that KMFL is not -available by default in some popular Linux distributions, so that -you may have to compile, install and configure it yourself. This task -is a bit difficult for an average user, but the result surely worth -efforts. - -\section{Installation Instructions} - -\subsection{Windows} - -Font installation under Windows is simple. You can install Old Standard as -you would any TrueType or OpenType-CFF font by placing the font files to -the Windows \texttt{fonts} folder. To do that: - -\begin{enumerate} - -\item Go to the Windows Control Panel and open the “Fonts” applet; - -\item On the File menu, select “Install New Font\ldots”; - -\item Switch to the drive and directory that contain the fonts you want to -add; - -\item To select more than one font to add, press and hold down the CTRL -key, click the fonts you want, then click on OK. - -\end{enumerate} - -You may need to restart some applications before they can access the fonts -you have just installed. - -\subsection{Linux and X11} - -Currently there are no prepackaged RPM or DEB files for Old Standard, but, -of course, you can always install the fonts manually, which is actually not -so complex task with modern Linux distributions. A tricky part is related -with the fact that there are actually two engines responsible for font -installation and handling in X11 environment: -\href{http://www.fontconfig.org}{fontconfig} and an older X11 engine. Since -fontconfig is used by almost all recent applications (including those -based on GTK2 and QT4), in most cases it is sufficient to install fonts -via fontconfig (this is the only option in case of OpenType-CFF fonts). On -most distributions you can do that just by placing the font files to your -\texttt{~/.fonts} directory. After that you may need to run - -\texttt{\$ fc-cache} - -\noindent from your command line to update your fontconfig configuration. -You can also use a graphical font installation tool provided by KDE (the -most powerful graphical desktop environment for X11), but be aware that -this tool actually does just the things described above, i.~e. copies the -fonts to the appropriate directory and runs \texttt{fc-cache}. - -However, if you want to make TrueType fonts accessible to some older X11 -applications, then additional steps are required: - -\begin{enumerate} - -\item Find the place in your directory tree where your X stores TTF fonts. -The usual place is \texttt{/usr/X11R6/lib/X11/fonts/truetype} and the -subdirectories therein; - -\item create under that location a subdirectory for the fonts you are going -to install, for example: - -\texttt{\$ mkdir /usr/X11R6/lib/X11/fonts/truetype/oldstand}. - -You should become root to do that. Then copy the *.ttf files there: - -\texttt{\$ cp *.ttf /usr/X11R6/lib/X11/fonts/oldstand/}; - -\item switch to the directory where you have just copied the font files and -run the following commands: - -\texttt{\$ ttmkfdir > fonts.scale} -\texttt{\$ mkfontdir} - -\item Now the hardest part: we have to inform your X server about the path -where the recently installed fonts are placed. This can be done by -two ways: - -\begin{enumerate} - -\item in most distributions fonts are managed directly by the X11 system. -In this case the information about font paths is stored in the main X11 -server configuration file, which is located under \texttt{/etc/X11} and -may be called \texttt{xorg.conf}, \texttt{XF66Config} or -\texttt{XF86Config-4} depending from your distribution and the version of -the X11 server it uses. So open that file in your favorite text editor, -and add the following line to the “Files” section: - -\texttt{FontPath "/usr/X11R6/lib/X11/fonts/oldstand/"}; - -\item some Linux distributions (\href{http://www.altlinux.ru}{Alt Linux} in -particular) handle fonts using a special X Font Server (xfs). You can -easily determine if your distribution belongs to this second group, as in -this case the only “FontPath” element in your \texttt{xorg.conf} or -\texttt{XF86Config} will look as follows: - -\texttt{FontPath "unix/:-1"} - -If you have noticed such a line in your main X11 configuration file, you -should keep it untouched and instead edit the \texttt{/etc/X11/xfs/config} -file and add the new font path there. - -\end{enumerate} - -\item Finally, if everything is done correctly, the fonts will be -accessible for X11 applications when you restart your X Server. However, -you can also activate your new fonts immediately. Again, this can be done -by two ways: - -\begin{enumerate} - -\item if your system doesn’t use xfs, then you should execute the following -commands: - -\texttt{\$ xset fp+ /usr/X11R6/lib/X11/fonts/oldstand/} - -\texttt{\$ xset rehash} - -\item otherwise you have to restart your X Font Server. Usually this -can be done by executing - -\texttt{\$ service xfs restart} - -\end{enumerate} - -\end{enumerate} - -\subsection{OpenOffice.org} - -Under MS Windows OpenOffice.org/LibreOffice just uses system-wide installed -fonts, but Unix versions have their own font administration utility, -inherited from the dark times when no suitable engine that would be able -to properly handle scalable fonts existed at the X11 level. Normally -OpenOffice.org/LibreOffice can automatically detect X11 fonts and add -them to its configuration (so no additional steps are required), but -sometimes it fails to find them. In this case you should let -OpenOffice.org/LibreOffice know about your new fonts using the \texttt{spadmin} -utility. You can either run this tool manually from your OpenOffice.org -directory, or select the “OpenOffice.org printer administration” GUI menu -item in KDE or Gnome (you should close any open OpenOffice.org/LibreOffice -instances before you can do this). When the \texttt{spadmin} window appears, -do the following: - -\begin{figure}[htb] - -\centerline{\XeTeXpicfile "spadmin.png" width 160mm} - -\caption{The OpenOffice.org printer administration utility: main window} - -\hypertarget{fig:spadmin}{}\label{fig:spadmin} - -\end{figure} - -\begin{enumerate} - -\item click on the “Fonts...” button; - -\item click on "Add...; - -\item look for the directory where the fonts are installed\\ (e.~g. -\texttt{/usr/share/fonts/truetype/oldstand/}), as \autoref{fig:spadmin-add} -shows; - -\begin{figure}[htb] - -\centerline{\XeTeXpicfile "spadmin-add.png" width 140mm} - -\caption{Adding new fonts to OpenOffice.org via spadmin} - -\hypertarget{fig:spadmin-add}{}\label{fig:spadmin-add} - -\end{figure} - -\item Click on “Select all”; - -\item Click on OK. - -\end{enumerate} - -When you restart OpenOffice.org/LibreOffice, the fonts should be available to its -applications. - -\subsection{{\TeX} systems} - -Adding new fonts to a \TeX{} installation is always difficult for an -average user, as in order to use a font with \TeX{} typesetting system one -has to generate many additional files, \TeX{} font metrics files (TFM) in -particular. Yet I still haven’t provided a \TeX{} support package for Old -Standard, mainly because Old Standard currently has only three shapes -(regular, italic and bold), and thus such a package would have very limited -functionality from the \TeX{} point of view. However, you can easily use -Old Standard (as well as any other TrueType or OpenType-CFF font) in your -\TeX{} documents without any additional steps if you install -\href{http://scripts.sil.org/xetex}{\XeTeX}~— a Unicode enabled version of -the \TeX{} compiler. In particular this manual was set with \XeLaTeX{} -using the TrueType versions of the fonts. - -\XeTeX{} has many other advantages over traditional \TeX{} compilers, as it -combines the full Unicode support with a very good support of advanced -\hyperlink{OT}{OpenType} features. In particular, this manual (including -all examples demonstrating smart font rendering features available in Old -Standard) was typeset with \XeTeX. - -} - -\section{Terms of use} -\hypertarget{license}{} - -The current version of Old Standard is distributed under the -\href{http://scripts.sil.org/OFL}{SIL Open Font License} (OFL) v.~1.1. I -selected OFL for my typeface because it is the only license developed -specially for fonts that meets the standards of the FLOSS (Free/Libre and -Open Source Software) community, in particular the Debian Free Software -Guidelines. Both the text of the license itself and the OFL FAQ are -included in the fonts package, so I don’t reproduce them here. Basically -licensing under OFL means that you can freely use, copy, modify and -distribute the fonts, as long as the terms of the license are not violated. -In particular you are not allowed to remove the original copyright notices -from the font software and to change licensing conditions (\ie, distribute -either original or modified versions under a different license). One additional -significant restriction is that you can’t sell the fonts alone (however -OFL allows you to bundle and sell them together with any other software, either -free or commercial). - -A large part of OFL is devoted to so-called Reserved Font Names which can't -be used in derivative works without a written permission of the original -author. However there are no Reserved Font Names specified for Old Standard. -This is because I think I can't prohibit anybody from using such common -words as “Old” or “Standard” in their font names. In fact I even encourage -you to base names of your modified versions on the original one, so that -the user can easily determine where the main design comes from. For example, -if you have modified Old Standard in order to get Serbian Cyrillic glyphs -displayed by default instead of Russian ones, it might be logical to call -your version “Old Standard Serbian”. It is still desired however that you -don't take the original name as is, but add some suffix specific for your -version. - -Note that this manual is \emph{not} covered by SIL OFL, but distributed under the -\href{http://gnu.mirror.fr/licenses/fdl.html}{GNU Free Documentation -license}. See \autoref{FDL} for more information. - -\section{Acknowledgments} - -I would like to thank: - -\begin{itemize} - -\item George Williams for his excellent -\href{http://fontforge.sourceforge.net}{FontForge} program, and -especially for his responsiveness in fixing bugs and adding new features. -Without his assistance this package would never be released! - -\item Peter Baker for his \href{http://xgridfit.sourceforge.net}{xgridfit} -utility, which provides a good Open Source solution for adding TrueType -instructions to a font, and also for valuable information on the design of -the Middle English letter yogh he provided; - -\item Tavmjong Bah (Tav), who kindly granted me his Perl scripts (originally -written for his \href{http://tavmjong.free.fr/FONTS/}{Arev fonts}) used to -convert separate kerning pairs defined in a FontForge source file into -kerning classes; - -\item \href{http://canopus.iacp.dvo.ru/~panov/}{Andrew Panov} for valuable -remarks on the design of mathematical characters and scanned images he -provided. - -\end{itemize} - -\chapter{Multilingual Support, Unicode and OpenType} -\hypertarget{i18n}{}\label{i18n} -\thispagestyle{empty} - -\section{Unicode coverage} - -\subsection{General principles} - -Since Old Standard is a multilingual font family, I will always do my best -to extend the range of supported characters, thus providing support for -more languages. Nevertheless, I would like to protect my typeface from some -problems shared by many similar free font projects. The developers of those -fonts are often attempting to cover the widest possible number of scripts -and Unicode blocks, even if the Unicode -\href{http://www.unicode.org/charts}{code charts} is the only source of -their knowledge about the design of a specific character. Of course, the -resulting glyphs do not always look really acceptable for actual typesetting. -Moreover, due to the lack of time and resources the designers are often -unable to keep all glyphs at the same quality level: for example, we often -can see autogenerated accented characters with mispositioned diacritics. In -particular, there are so many fonts that are claimed to support the -extended Greek range, but actually are not suitable for typesetting -classical Greek\ldots{} Another common problem is that only the regular -version of each particular font is really actively developed, while all -additional weights and shapes fall far behind it (\eg, support much fewer -Unicode characters). - -That’s why I have formulated for myself several principles which I am -always trying to follow when designing additional glyphs: - -\begin{itemize} - -\item I shall never add any new characters just for completeness, \ie, to -get a specific Unicode range fully covered. Before drawing a new glyph I -must ensure that I really understand its intended purpose and the -principles of its design. - -\item Because Old Standard is supposed to reproduce the actual printing style -of the early 20\textsuperscript{th} century, I shall avoid implementing new -characters based just on general considerations. Ideally, all glyphs -should be based on real examples taken from some old editions. Of course, -exceptions to this rule are sometimes necessary, as many characters were -first introduced only in 20\textsuperscript{th} century, or even never -existed in traditional typography before they were adopted by the Unicode -standard. - -\item I shall try to develop all font styles (currently regular, -italic and bold) simultaneously, \ie, if a specific character is added -to the regular font, it should also be designed for italics and bold. -Exceptions are allowed for glyphs that don't have dedicated codepoints -and are supposed to be accessible via smart font features, as well as for those -characters that have no corresponding italic or slanted style (this is the case -for many mathematical symbols). - -\end{itemize} - -\subsection{Character repertoire} - -Currently the following Unicode ranges are fully or partially covered by -Old Standard: - -\begin{description} - -\item[Basic Latin (0000–007F)] Fully supported. - -\item[Latin 1 Supplement (0080–00FF)] Fully supported. - -\item[Latin Extended-A (0100–017F)] Fully supported. - -\item[Latin Extended-B (0180–024F)] Old Standard implements two groups of -characters from this block, namely several letters needed for various Old -Germanic languages and Croatian accented characters and digraphs. - -\item[IPA Extensions (0250–02AF)] From this range Old Standard currently -implements a few characters which can be used in other contexts, except IPA. -One such example is \texttt{U+0280} LATIN LETTER SMALL CAPITAL R, needed for the -transliteration of Old Norse runic inscriptions. - -\item[Spacing Modifier Letters (02B0–02FF)] Old Standard implements spacing -versions of some combining diacritical marks, available in the next block. - -\item[Combining Diacritical Marks (0300–036F)] Most standard accents, -commonly used in various European languages, are supported. - -\item[Greek and Coptic (0370–03FF)] Fully covered, except Coptic -letters. - -\item[Cyrillic (0400–04FF)] Old Standard implements all modern Slavic -(i.~e. Russian, Uk\-rai\-nian, Byelorussian, Serbian and Macedonian) -characters, as well as historical characters and extensions for Old -Slavonic. - -\item[Phonetic Extensions (1D00–1D7F)] Only one character (\texttt{U+1D79} LATIN -SMALL LETTER INSULAR G) is implemented. Note that the uppercase version -of this letterform is now encoded in Latin Extended-D range. - -\item[Latin Extended Additional (1E00–1EFF)] This range is coveref except -Vietnamese acented characters and medievalist additions. - -\item[Greek Extended (1F00–1FFF)] Fully supported. - -\item[General Punctuation (2000–206F)] Fully supported, except invisible -control characters. - -\item[Superscripts and Subscripts (2070–209F)] Subscript and superscript -forms of digits and math operators (but not letters), available in this -block, are covered. - -\item[Currency Symbols (20A0–20CF)] The EURO SIGN \texttt{U+20AC}. - -\item[Letterlike Symbols (2100–214F)] In this block Old Standard implements -a few characters, belonging to the following two categories: first, a few -standard symbols, present in most Western or Cyrillic fonts (in particular -NUMERO SIGN \texttt{U+2116}, TRADE MARK SIGN \texttt{U+2122} and OHM SIGN \texttt{U+2126}), and second, -some characters which may be useful for textual criticism (such as Fraktur ℭ -and ℌ). - -\item[Number Forms (2150–218F)] Fully covered. - -\item[Mathematical Operators (2200–22FF)] This block is far from being -finished, and yet it already includes (I hope) all symbols which are most -commonly used in mathematical typesetting. - -\item[Miscellaneous Technical (2300–23FF)] In this block Old Standard -implements angle brackets \texttt{U+2329} and \texttt{U+232A} (these characters should -probably be avoided: use “mathematical” angle brackets at \texttt{U+27E8/U+27E9} -instead) and ancient metrical symbols (23D1—23D9). - -\item[Geometric Shapes (25A0–25FF)] Old Standard implements only a few of -these symbols, for compatibility with legacy fonts and charsets. - -\item[Miscellaneous Mathematical Symbols-A (27C0–27EF)] Old Standard -implements mathematical angle, square and double angle brackets (useful -also for critical text editions). - -\item[Supplemental Mathematical Operators (2A00–2AFF)] In this block I have -implemented only a few characters, in particular alternate “less than” and -“greater than” symbols with a slanted bar, which actually where preferred -forms in the traditional European typesetting before the arrive of modern -standards. - -\item[Cyrillic Extended-A (2DE0–2DFF)] Fully covered. - -\item[Supplemental Punctuation (2E00–2E7F)] Old Standard implements New -Testament editorial symbols, Ancient Greek textual symbols and half brackets. - -\item[CJK Symbols and Punctuation (3000–303F)] Again, Old Standard includes -angle and square brackets at \texttt{U+3008/U+3009} and \texttt{U+301A/U+301B} -correspondingly, as some people have used to use them for textual -criticism. Nevertheless “mathematical” versions of those characters (see -above) should probably be preferred for their purposes. - -\item[Cyrillic Extended-B (A640–A69F)] Old Standard implements letters and -signs for Old Cyrillic (but not letters for old Abkhasian orthography). - -\item[Latin Extended-D (A720–A7FF)] LATIN CAPITAL LETTER INSULAR G (\texttt{U+A77D}) -and Ancient Roman epigraphic letters. - -\item[Private Use Area] This block includes a few additional accented Greek -letters and some glyphs traditionally mapped to PUA codepoints in Adobe -fonts (I find this practice reasonable, even if Adobe itself now has dropped -it). It is not recommended to use those glyphs directly: instead, you should -access them by applying various smart font features (see \autoref{OT} -for more information), if your application allows -this. - -\item[Alphabetic Presentation Forms (FB00–FB4F)] In this block the standard -Latin f-ligatures are available. - -\item[Math Alphanumeric Symbols (1D400–1D7FF)] Old Standard includes a few -Fraktur letters, useful for critical editions of ancient/biblical texts. -This block is far from being complete (and I am not planning to implement -the whole alphabet anyway); however, it already includes all characters -which appear in the Nestle---Aland New Testament. - -\end{description} - -\subsection{TODO} - -As you can see, lots of characters are still waiting to be implemented. -Since Old Standard is oriented mainly to historians and philologists, I am -especially interested in adding those characters which might be useful for -textual studies and studying various ancient languages. Here are some -priorities: - -\begin{itemize} - -\item Some characters useful for medievalists are still missing from the -Latin Extended-B range; - -\item some IPA characters (at least those needed for English phonetic -transcription); - -\item a large group of medievalist additions has been adopted in Unicode~5.1. -Of course it would be nice to implement them in Old Standard. - -\end{itemize} - -\subsection{How you can help} - -If you would like to get a specific character available in Old Standard, -then probably the best help you can offer is to provide some high -resolution (normally 600dpi) scans showing you character used in an old -book, where the rest of text is set with a Modern typeface (this condition -is especially important for additional Latin letters). If it is impossible -to find such examples (e.~g. because your character had not yet been -introduced at the time when Modern typefaces were popular), then at least -provide a clear description on how it should be designed (or point me to a -such description). Also remember that, except the upright character, I will -have to implement also an italic version, and the design of italic glyphs -may often require additional notes. - -Of course you can also design the desired character(s) yourself and then -contribute them to Old Standard. Such contributions are always very -welcome, but be aware that I will review the submissions carefully in order -to be able to guarantee a high level of quality for the fonts. Please -don’t be discouraged if I do not include a submission for this reason, or -ask you to make some specific revisions. - -\section{Smart Font Capabilities and Language Support} - -This section is intended to demonstrate, how Old Standard can be used for -typesetting texts in various languages. This assumes discussing two types -of issues: “smart” font rendering features intended to provide a better -support for each particular language and some glyph design peculiarities. -Old Standard currently supports two “smart” font technologies: OpenType -and Graphite. Since the OpenType technologie is much more widespread, -this section deals mostly with OpenType rendering. It starts from a special -paragraph which describes the advantages of the OpenType technologie and -discusses the level of OpenType support in various applications. Then the -manual proceeds to various language-specific details (again, focusing -mainly on OpenType features), sorting them by scripts: Latin, Greek and -Cyrillic. The Graphite rendering mode is described in a -\hyperlink{Graphite}{separate paragraph}. - -\subsection{What is OpenType?} -\hypertarget{OT}{}\label{OT} - -OpenType is a smart font rendering technology, that allows proper -typographic treatment of complex scripts and advanced typographic effects -for simpler scripts. This is achieved by applying various -\textit{features}, or \textit{tags}, described in the OpenType -specification. Some of those features are supposed to be enabled by -default, while others are considered optional. In order to get advantage of -all those advanced typographic features, you need two basic components: a -“smart” font including certain extra tables, where the features applicable -to this font are specified, and an OpenType-aware application. Not all -applications currently support OpenType, although their number is growing. -So before relying on any smart features provided by Old Standard or another -typeface you should carefully examine which of those features are expected -to work in your application, and which are not. - -The most popular OpenType rendering engine for Windows platform is the -\textit{Uniscribe} library, developed by Microsoft. This library is used -not only by own Microsoft software, but also by many other Windows -applications, for example, the Windows versions of -\href{http://www.openoffice.org}{OpenOffice.org} and -\href{http://www.libreoffice.org}{LibreOffice}. Initially Uniscribe -supported only complex scripts (like Arabic or Devanagari), but the most -recent versions, supplied with Microsoft Windows XP SP2 and Microsoft -Office 2003 (note that MS Office uses its own version of Uniscribe rather -than the system library) also perform some processing for Latin, Greek and -Cyrillic. The Uniscribe support for Western scripts is still limited: -Microsoft Word 2003 performs only \hyperlink{mark}{accent positioning} and -\hyperlink{ccmp}{character composition/decomposition}. On the other hand, -the supported features are actually the most important ones, and they are -really sufficient for proper text rendering, although without additional -typographic niceties. - -Adobe’s applications (such as InDesign) use another shaping engine, called -\textit{CoolType}, which provides access to many optional features offered -by OpenType, such as small caps, stylistic sets and various types of ligatures. -Old Standard currently supports some of those optional features, such as -stylistic sets. To tell the truth, this functionality is very important from -the point of view of a fine typography, but in most cases almost useless for -a linguist. However beginning from the CS3 version Adobe Creativity Suite -applications are said to support a wider range of OT features, including -mark positioning and glyph composition/decomposition, which makes them much -more suitable for typesetting linguistic texts when previously. - -In the Unix world, there are at least two free OpenType rendering -libraries. One such library is \textit{Pango}, used in applications based -on the GTK2 toolkit. This library currently has nearly the same -capabilities as MS Uniscribe (although still there are some glitches). -Another, even more powerful rendering engine is -\href{http://icu.sourceforge.net}{\textit{ICU}}, used by \XeTeX. ICU -properly handles virtually all features provided by Old Standard, even those -not supported by most other rendering engines (language-dependent substitutions -for example). Unix versions of \href{http://www.openoffice.org}{OpenOffice.org} -and \href{http://www.libreoffice.org}{LibreOffice} also use ICU, but, -unfortunately, this is not very useful for our purposes, as they enable -complex text processing only for complex scripts. - -I know very little about Mac, but I have to mention that many applications for -this platform also have a very good level of OpenType support. One such -application is \href{http://www.redlers.com}{Mellel}, the leading word -processor for Mac OS X, designed to serve scholars, creative and technical -writing and multilingual word processing. - -\subsection{Latin Script} - -\subsubsection{Standard Ligatures} - -Old Standard currently includes 5 standard f-ligatures (namely \textit{ff, -fi, fl, ffi} and \textit{ffl}) present in most OpenType fonts and also -\textit{fj} and \textit{ffj} ligatures which are required for proper -typesetting in Nordic languages. All these ligatures are accessible via the -\texttt{liga} feature, enabled by default in most applications which -support it (such as Adobe InDesign). Two language-dependent exceptions have -been made from this rule, according to the common convention usually -applied to OpenType fonts: - -\begin{itemize} - -\item Turkish, Azerbaijani and Crimean Tatar alphabets have two distinct -versions of the letter \textit{i}, one dotted and the other dotless. For -this reason the \textit{fi} and \textit{ffi} ligatures are not applied for -those language systems to avoid the confusion which would be possible -otherwise. - -\item No ligatures are enabled by default for German, since this language -has very complex rules of ligature processing. You still can get them if -you enable the \texttt{dlig} feature tag in addition to \texttt{liga}. - -\end{itemize} - -Note that the exceptions described above will work as expected only if your -application can perform OpenType processing depending from the current -language. - -\subsubsection{Combining Mark Positioning} -\hypertarget{mark}{} - -One of the most attractive possibilities offered by OpenType is smart -diacritic positioning: if you type a letter followed by a diacritic from -the Unicode “Combining Diacritics” range, the diacritic will be placed -exactly above or below the letter. To achieve this effect, an OpenType -font should support the \texttt{mark} feature tag. This feature allows to -add \textit{anchor points} both to base letters and diacritics, so that, -when an accent mark is typed after a base character, the glyphs are -positioned by such a way that their anchor points are coincident. Another -type of anchor points, specified by the \texttt{mkmk} feature, is used to -position two marks with respect to each other, so that an additional -diacritic can be stacked properly above the first. - -Old Standard provides proper \texttt{mark} and \texttt{mkmk} anchor points -for most Latin letters and combining marks, so that you can type them in -almost any combination and the result will be visually identical with the -corresponding precomposed accented characters (in case they are available -in the font). Most OpenType renderers (except older versions of Adobe’s -Cooltype library) support the corresponding feature tags, and so you can -safely use these features in most OpenType-aware applications (MS Word 2003 -for example). - -\subsubsection{Unicode Composition and Decomposition} -\hypertarget{ccmp}{} - -Another important OpenType feature is \texttt{ccmp}. This feature allows -to decompose a character into two glyphs or, on the contrary, to compose -two characters into a single glyph for better glyph processing. Often such -substitutions correspond to canonical (de)compositions specified in the -Unicode character database, but this is not a required condition. So if we -would like to replace a specific glyph or a group of glyphs with another -glyph or a group of glyphs, such replacement can almost always be -implemented via \texttt{ccmp}: the only important limitation here is that -this feature is not supposed to (an often just cannot) be turned off, and -thus it should not be used for optional typographic refinements, such as -Latin ligatures. - -Old Standard uses \texttt{ccmp} mainly to compose accented glyphs from an -accent and a base character in those cases where a simple accent positioning -would not produce the desired result. For example, the Czech alphabet has -some accented characters (\textit{ď}, \textit{ľ}, \textit{ť}) where the -accent is identified with the haček (caron), but actually looks like an -apostrophe. So when you type \textit{d}, \textit{l} or \textit{t} followed -by combining haček, Old Standard just substitutes the corresponding Czech -character for you. - -There are also some situations where \texttt{mark} and \texttt{ccmp} should -be used together to produce a better result. For example, before you can -place an accent above letters like \textit{i} or \textit{j} you have to -replace the base letter with a dotless variant first, and this can be done -only with \texttt{ccmp}. For this reason all OpenType renderers which -support accent positioning support also this feature (Word 2003 does). - -\subsubsection{Stylistic Sets} - -Stylistic sets are used to enable a group of stylistic variant glyphs, -designed to harmonize visually, and make them automatically substituted -instead of the default forms. OpenType allows to specify up to 20 stylistic -sets, marking them \texttt{ss01}, \texttt{ss02}\ldots{} \texttt{ss20}. The -following stylistic sets, currently available in Old Standard, are relevant -for the Latin script: - -\begin{description} - -\item[ss01] This set allows to automatically substitute small and capital -\textit{s} and \textit{t} with commaaccent (\texttt{U+0218}, \texttt{U+0219}, -\texttt{U+021A}, \texttt{U+021B}) instead of the corresponding letters with -cedilla (\texttt{U+015E}, \texttt{U+015F}, \texttt{U+0162}, -\texttt{U+0163}), as required by Romanian typographic rules. The same substitution -can be done automatically for Romanian and Moldavian languages, if only -your application supports the \texttt{local} feature tag; otherwise you can -use \texttt{ss01} instead. Of course this is important only if the glyph -variants with commaaccent are not typed directly (which is also possible, -as now those letterforms have separate Unicode codepoints). - -\begin{table}[h!] -\centering\LARGE -\begin{tabular}[c]{ccc} - -\fontspec[Script=Latin,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -raţiune şi conştiinţă & ⇒ & -\fontspec[Script=Latin,Language=Romanian, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -raţiune şi conştiinţă \\ -\fontspec[Script=Latin,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -\itshape raţiune şi conştiinţă & ⇒ &\itshape -\fontspec[Script=Latin,Language=Romanian, - ItalicFont= *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -raţiune şi conştiinţă \\ - -\end{tabular} -\end{table} - -\item[ss02] By enabling this feature tag you can get all occurrences of -small and capital Latin \textit{g} automatically replaced with “insular” -forms, sometimes preferred for typesetting Old English: - -\begin{table}[h!] -\centering\LARGE -\begin{tabular}[c]{ccc} - -\fontspec[Script=Latin,Color=696969,]{OldStandard-Regular} -Gosfregð & ⇒ & -\fontspec[Script=Latin,RawFeature=+ss02]{OldStandard-Regular} -Gosfregð \\ -\fontspec[Script=Latin,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -\itshape Gosfregð & ⇒ &\itshape -\fontspec[Script=Latin,RawFeature=+ss02, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -Gosfregð \\ - -\end{tabular} -\end{table} - -This stylistic set is preserved for backwards compatibility: I no longer -recommend using it, as both capital and small insular \textit{g} now -have dedicated Unicode codepoints, and it is probably better to type them -directly. - -\end{description} - -\subsubsection{Sample Text Fragments in Old and Classical Languages} - -\paragraph{Classical Latin} - -Of course classical Latin is supported. Just an example: - -\begin{quote} -\large -\fontspec[Script=Latin,Language=Latin, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -Gallia est omnis divīsa in partes tres, quārum unam incŏlunt Belgae, aliam -Aquitāni, tertiam qui ipsōrum lingua Celtae, nostra Galli appellantur. Hi -omnes lingua, institūtis, legĭbus inter se diffĕrunt. Gallos ab Aquitānis -Garumna flumen, a Belgis Matrŏna et Sequăna divĭdit. Horum omnium -fortissimi sunt Belgae, propterea quod a cultu atque humanitāte provinciae -longissime absunt, minimeque ad eos mercatōres saepe commeant atque ea, quae -ad effeminandos anĭmos pertĭnent, important, proximique sunt Germānis, qui -trans Rhenum incŏlunt, quibuscum continenter bellum gerunt. Qua de causa -Helvetii quoque relĭquos Gallos virtūte praecēdunt, quod fere cotidiānis -proeliis cum Germānis contendunt, cum aut suis finĭbus eos prohĭbent aut -ipsi in eōrum finĭbus bellum gerunt. - -\smallskip - -\itshape -Gallia est omnis divīsa in partes tres, quārum unam incŏlunt Belgae, aliam -Aquitāni, tertiam qui ipsōrum lingua Celtae, nostra Galli appellantur. Hi -omnes lingua, institūtis, legĭbus inter se diffĕrunt. Gallos ab Aquitānis -Garumna flumen, a Belgis Matrŏna et Sequăna divĭdit. Horum omnium -fortissimi sunt Belgae, propterea quod a cultu atque humanitāte provinciae -longissime absunt, minimeque ad eos mercatōres saepe commeant atque ea, quae -ad effeminandos anĭmos pertĭnent, important, proximique sunt Germānis, qui -trans Rhenum incŏlunt, quibuscum continenter bellum gerunt. Qua de causa -Helvetii quoque relĭquos Gallos virtūte praecēdunt, quod fere cotidiānis -proeliis cum Germānis contendunt, cum aut suis finĭbus eos prohĭbent aut -ipsi in eōrum finĭbus bellum gerunt. - -\end{quote} - -\paragraph{Old English} - -The following text (a writ from William the Conqueror to the citizens of -London, 1066) demonstrates several specific characters used in Old English. -Note the insular “G” automatically substituted instead of the regular Latin -“G” by applying the stylistic set 02. - -\begin{quote} -\large - -\fontspec[Script=Latin,Language=English,RawFeature=+ss02, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -Will(el)m kyng gret Will(el)m bisceop and Gosfregð portirēfan and ealle þā -burhwaru binnan Londone, Frencisce and Englisce, frēond\-līce. And ic kȳðe ēow -þæt ic wylle þæt get bēon eallre þǣra laga weorðe þē gyt wǣran on Eadwerdes -dæge kynges. And ic wylle þæt ǣlc cyld bēo his fæder yrfnume æfter his -fæder dæge. And ic nelle geþolian þæt ǣnig man ēow ǣnig wrang bēode. God -ēow gehealde! - -\smallskip - -\itshape -Will(el)m kyng gret Will(el)m bisceop and Gosfregð portirēfan and ealle þā -burhwaru binnan Londone, Frencisce and Englisce, frēond\-līce. And ic kȳðe ēow -þæt ic wylle þæt get bēon eallre þǣra laga weorðe þē gyt wǣran on Eadwerdes -dæge kynges. And ic wylle þæt ǣlc cyld bēo his fæder yrfnume æfter his -fæder dæge. And ic nelle geþolian þæt ǣnig man ēow ǣnig wrang bēode. God -ēow gehealde! - -\end{quote} - -\paragraph{Middle English} - -No special typographic features are required for typesetting Middle -English, so the following example just demonstrates some characters, -specific for this language, in particular the \textit{ȝ} (yogh): - -\begin{quote} -\large - -\fontspec[Script=Latin,Language=English, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -Our Lord, which ich shal douten, is my liȝtyng and my helpe. Our Lord is -defendour of my lif; for what þyng shal ich drede? To þat noiand comen -neȝe vp me, þat hij etand my flesshes: Myn enemys, þat trubleden me, ben -made sike, and hij fellen. Ȝif hij setten manaces oȝains me, myn hert ne -shal nouȝt drede. Ȝyf myn enemy arere bataile oȝains me, y shal hopen in -þat. Ich asked þe lif þat euer shal last of our Lord; ich shal bisechen -þat, þat ich mai wonne in þe hous of our Lord alle þe daies of my lif; Þat -ich se þe wille of our Lord and uisite his temple. - -\smallskip - -\itshape -Our Lord, which ich shal douten, is my liȝtyng and my helpe. Our Lord is -defendour of my lif; for what þyng shal ich drede? To þat noiand comen -neȝe vp me, þat hij etand my flesshes: Myn enemys, þat trubleden me, ben -made sike, and hij fellen. Ȝif hij setten manaces oȝains me, myn hert ne -shal nouȝt drede. Ȝyf myn enemy arere bataile oȝains me, y shal hopen in -þat. Ich asked þe lif þat euer shal last of our Lord; ich shal bisechen -þat, þat ich mai wonne in þe hous of our Lord alle þe daies of my lif; Þat -ich se þe wille of our Lord and uisite his temple. - -\end{quote} - -\paragraph{Gothic Transliteration} - -Two additional letters are used in Gothic transliteration: \textit{þ} -(þiuþ, thorn) and \textit{ƕ} (hwair). Both of them are available in Old -Standard: - -\begin{quote} -\large - -\fontspec[Script=Latin, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -Akei ik sunja izwis qiþa: batizo ist izwis ei ik galeiþau; unte jabai ik ni -galeiþa, parakletus ni qimiþ at izwis; aþþan jabai gagga, sandja ina du -izwis. Jah qimands is gasakiþ þo manaseþ bi frawaurht jah bi garaihtiþa -jah bi staua; bi frawaurht raihtis, þata þatei ni galaubjand du mis; iþ bi -garaihtiþa, þatei du attin meinamma gagga, jah ni þanaseiþs saiƕiþ mik; -iþ bi staua, þatei sa reiks þis fairƕaus afdomiþs warþ. - -\smallskip - -\itshape -Akei ik sunja izwis qiþa: batizo ist izwis ei ik galeiþau; unte jabai ik ni -galeiþa, parakletus ni qimiþ at izwis; aþþan jabai gagga, sandja ina du -izwis. Jah qimands is gasakiþ þo manaseþ bi frawaurht jah bi garaihtiþa -jah bi staua; bi frawaurht raihtis, þata þatei ni galaubjand du mis; iþ bi -garaihtiþa, þatei du attin meinamma gagga, jah ni þanaseiþs saiƕiþ mik; -iþ bi staua, þatei sa reiks þis fairƕaus afdomiþs warþ. - -\end{quote} - -\paragraph{Old Icelandic} - -A fragment of text in Old Icelandic. Note some specific letters used in -that language, as well as the \textit{fj} ligature. - -\begin{quote} -\large - -\fontspec[Script=Latin,Language=Icelandic, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -Kømr nú þessi fregn fyrir Hrólf konung ok kappa hans upp í kastalann, at -maðr mikilúðligr sé kominn til hallarinnar ok hafi drepit einn hirðmann -hans, ok vildu þeir láta drepa manninn. Hrólfr konungr spurðisk eptir, -hvárt hirðmaðrinn hefði verit saklauss drepinn. „Því var næsta“, sǫgðu -þeir. Kómusk þá fyrir Hrólf konung ǫll sannindi hér um. Hrólfr konungr -sagði þat skyldu fjarri, at drepa skyldi manninn~— „hafi þit hér illan -vanda upp tekit, at berja saklausa menn beinum; er mér í því óvirðing, en -yðr stór skǫmm, at gøra slíkt. Hefi ek jafnan rœtt um þetta áðr, ok hafi -þit at þessu engan gaum gefit, ok hygg ek at þessi maðr muni ekki alllítill -fyrir sér, er þér hafið nú á leitat; ok kallið hann til mín, svá at ek viti -hverr hann er“. - -\smallskip - -\itshape -Kømr nú þessi fregn fyrir Hrólf konung ok kappa hans upp í kastalann, at -maðr mikilúðligr sé kominn til hallarinnar ok hafi drepit einn hirðmann -hans, ok vildu þeir láta drepa manninn. Hrólfr konungr spurðisk eptir, -hvárt hirðmaðrinn hefði verit saklauss drepinn. „Því var næsta“, sǫgðu -þeir. Kómusk þá fyrir Hrólf konung ǫll sannindi hér um. Hrólfr konungr -sagði þat skyldu fjarri, at drepa skyldi manninn~— „hafi þit hér illan -vanda upp tekit, at berja saklausa menn beinum; er mér í því óvirðing, en -yðr stór skǫmm, at gøra slíkt. Hefi ek jafnan rœtt um þetta áðr, ok hafi -þit at þessu engan gaum gefit, ok hygg ek at þessi maðr muni ekki alllítill -fyrir sér, er þér hafið nú á leitat; ok kallið hann til mín, svá at ek viti -hverr hann er“. - -\end{quote} - -A special note is required on the shape of the Icelandic letter \textit{þ} -(thorn). In modern fonts this character’s design is almost always based on -the lowercase \textit{p} with an ascender added. This design is also the -only mentioned by Icelandic type designer Gunnlaugur SE Briem in his -article \href{http://66.147.242.192/~operinan/2/2.11/index.htm}{Thorn and eth: how -to get them right}. And yet this letterform doesn’t look characteristic for -the traditional typography. Generally speaking, there were two styles of -\textit{thorn} most commonly used in the late 19\textsuperscript{th} and -early 20\textsuperscript{th} century printing: - -\begin{itemize} - -\item a glyph based on the lowercase \textit{p}, but with a double sided -serif at the top of the ascender; - -\item a glyph with its top and bottom serifs positioned under an angle to -the vertical stem and the bowl stretched upwards. - -\end{itemize} - -In both cases the upper element often doesn’t reach the full ascender -height, which makes a significant advantage over the modern letterform -where the glyph often looks unbalanced due to the fact that the ascender is -significantly longer than the descender. - -I have preferred the second form for the upright font, as it looks more -elegant and seems to be preferable for Old English and the Gothic -transliteration. However, it is important to stress the fact, that it is -also perfectly suitable for Norse languages. In particular it was actively -used for this purpose in the German printing, as for example the “Sammlung -kurzer Grammatiken Germanischer Dialekte” series, published in Halle a.S. -in early 20\textsuperscript{th} century and now, thanks to the -\href{http://www.ling.upenn.edu/~kurisuto/germanic/language\_resources.html}{Germanic -Lexicon Project}, available on the web in the form high resolution scans, can -demonstrate. - -In the same books, however, the italic thorn already has the contemporary -style. So I have implemented this letterform too in the italic font -(where, indeed, it looks more appropriate than in the regular version). - -\subsection{Greek Script} - -\subsubsection{Alternate Forms} - -In addition to the basic Greek alphabet the Unicode standard includes -alternate forms for several letters, such as script \textit{theta}, stroked -\textit{phi} and so on. These characters were included mainly for -compatibility with legacy character sets (Symbol for example), and using -them anywhere except mathematical contexts is strongly discouraged. -Nevertheless, the fact these characters are encoded causes a great mess by -itself, since it convinces font designers to think that any Greek typeface -can and should include two basic forms for several Greek letters, and that -some of these forms are always preferred for a Greek text, while others are -intended only for mathematical usage. Of course this assumption is wrong: -in fact all such letterforms are font-specific, so that normally only one -of them is stylistically compatible with each particular typeface. - -That’s why, although OldStandard implements several alternate forms for -Greek letters, only a few of them can be considered really useful. The most -important of such exceptions is curly \textit{beta} \texttt{U+03D0}: this character, -indeed, should be available in any correct Greek font, since according to -the French typographic rules it is used instead of the regular -\textit{beta} with descender as a medial and final form (the same rule was -sometimes applied also in Greece itself). For this reason French -classicists often type \texttt{U+03D0} directly in their documents, and particularly -I see nothing wrong in this practice, although it is not recommended by -Unicode. However, in a “smart” font it is also possible to implement -a contextual substitution rule, allowing initial/medial forms to be -automatically substituted at the correct places. - -In Old Standard v.~1.0 I used contextual alternates (the \texttt{calt} -feature tag) for this purpose, but later I realized this feature is -normally enabled by default in most applications which support it, and, -since contextual forms are not very common in contemporary Greek publishing -outside France, most classicists would probably be discouraged if they appear -automatically in their texts. So now a stylistic set (\texttt{ss06}) -is used instead. - -\begin{figure}[htb] - -\centerline{\XeTeXpicfile "greek-contextual.png" width 160mm} - -\caption{Contextual forms of \textit{beta} and \textit{theta} in -traditional Greek typesetting. This example has been taken from: Ὡρολόγιον -τὸ μέγα, περιέχον ἁπάσαν τὴν ἀνήκουσαν αὐτῷ ἀκολουθίαν, κατὰ τὴν τάξιν τῆς -ἀνατολικῆς τοῦ Χριστοῦ ἐκκλησίας, καὶ ἐξαιρέτως τῶν ὑποκειμένων αὐτῇ εὐαγῶν -μοναστηρίων. Ἔκδοσις ἑβδόμη. Ἐν Βενετία, 1851. Σ.~32.} - -\label{fig:greek-contextual} - -\end{figure} - -\textit{Theta} is another letter, which can have two different forms, both -of which are stylistically compatible with Didot faces. The Unicode -code chart displays the closed \textit{theta} -{\fontspec[Script=Greek,RawFeature=+mgrk, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard}\textit{θ}} at \texttt{U+03B8} -(thus making it the default letterform), while the open, or script variant -form \textit{ϑ} is mapped to \texttt{U+03D1} and intended only for mathematical -usage. Most fonts currently follow this convention. Historically, however, -selection of one or another form has been made depending from national -typographic traditions. In particular, French and Greek publishers -certainly preferred the closed letterform, although in some -19\textsuperscript{th} century editions the open theta is used at the -beginning of words, i.~e. a rule, similar to one of \textit{beta}, is -applied (see \autoref{fig:greek-contextual} for example). On the other -hand, in German and Russian typography the open \textit{theta} was normally -used; this is also the only style of this letter found in the Teubner font -and other cursive Greek typefaces of a German origin. - -Since my sources contained good examples of both open and closed -\textit{theta} in Didot-styled Greek fonts, I have implemented them both, -and have added a closed letterform even to the italic font for better -compatibility with the regular version. However, since Old Standard mainly -follows German typographic conventions, it seemed inappropriate to map this -form to \texttt{U+03B8} and thus make it the only accessible glyph for the case -advanced Open Type features are not supported by user’s application. -Instead the following solution has been preferred: the open \textit{theta} -is mapped both to \texttt{U+03B8} (GREEK SMALL LETTER THETA) and \texttt{U+03D1} (GREEK THETA -SYMBOL), while the closed glyph may be automatically substituted instead -of \texttt{U+03B8} in one of the following situations: - -\begin{itemize} - -\item in any postition, if the \texttt{ss05} (stylistic set 05) feature -tag is applied. You can apply this substitution to an ordinary Greek text if -you prefer the closed form of \textit{theta}; - -\item applying the \texttt{mgrk} (Mathematical Greek) feature tag triggers the -same substitution as well. This is supposed to be used in mathematical contexts -in order to make the glyph mapping exactly corresponding to one defined by the -Unicode standard; - -\item at the middle and the end of words, if the stylistic set 06 (the \texttt{ss06} -feature tag) is active. - -\end{itemize} - -Thus enabling both \texttt{ss05} and \texttt{ss06} allows you to typeset your -text in exact comformance with French typographic conventions (\textit{theta} -is aways closed, the contextual substitution for \texttt{beta} is on). On the -other hand, activating just \texttt{ss06} will turn on contextual forms both for -\textit{beta} and \textit{theta}, as demonstrated below: - -\begin{table}[h!] -\centering\LARGE -\begin{tabular}[c]{ccc} - -\fontspec[Script=Greek,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -θαυμασθεὶς βάρβαρος & ⇒ & -\fontspec[Script=Greek,RawFeature=+ss06, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -θαυμασθεὶς βάρβαρος \\ -\fontspec[Script=Greek,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -\itshape θαυμασθεὶς βάρβαρος & ⇒ & \itshape -\fontspec[Script=Greek,RawFeature=+ss06, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -θαυμασθεὶς βάρβαρος \\ - -\end{tabular} -\end{table} - -Note that the \texttt{U+03D1} character will always be displayed as a script theta, -no matter, which feature tags you have applied. - -The following example shows a fragment of Greek text with contextual -alternates (note the medial \textit{beta} and the closed \textit{theta} -substituted in the appropriate places): - -\begin{quote} -\large - -\fontspec[Script=Greek,RawFeature=+ss06, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -Κῦρος δὲ συγκαλέσας τοὺς στρατηγοὺς καὶ λοχαγοὺς τῶν Ἑλλήνων συνεβουλεύετό -τε πῶς ἂν τὴν μάχην ποιοῖτο καὶ αὐτὸς παρῄνει θαρ\-ρύνων τοιάδε· «ὦ ἄνδρες -Ἕλληνες, οὐκ ἀνθρώπων ἀπορῶν [βαρβά\-ρων] συμ\-μάχους ὑμᾶς ἄγω, ἀλλὰ νομίζων -ἀμείνονας καὶ κρείττους πολλῶν βαρβάρων ὑμᾶς εἶναι, διὰ τοῦτο προσέλαβον. -ὅπως οὖν ἔσεσθε ἄνδρες ἄξιοι τῆς ἐλευθερίας ἧς κέκτησθε καὶ ἧς ὑμᾶς ἐγὼ -εὐδαιμονίζω. εὖ γὰρ ἴστε ὅτι τὴν ἐλευθερίαν ἑλοίμην ἂν ἀντὶ ὧν ἔχω πάντων -καὶ ἄλλων πολλαπλασίων». - -\itshape -Κῦρος δὲ συγκαλέσας τοὺς στρατηγοὺς καὶ λοχαγοὺς τῶν Ἑλλήνων συνεβουλεύετό -τε πῶς ἂν τὴν μάχην ποιοῖτο καὶ αὐτὸς παρῄνει θαρ\-ρύνων τοιάδε· «ὦ ἄνδρες -Ἕλληνες, οὐκ ἀνθρώπων ἀπορῶν [βαρβά\-ρων] συμ\-μάχους ὑμᾶς ἄγω, ἀλλὰ νομίζων -ἀμείνονας καὶ κρείττους πολλῶν βαρβάρων ὑμᾶς εἶναι, διὰ τοῦτο προσέλαβον. -ὅπως οὖν ἔσεσθε ἄνδρες ἄξιοι τῆς ἐλευθερίας ἧς κέκτησθε καὶ ἧς ὑμᾶς ἐγὼ -εὐδαιμονίζω. εὖ γὰρ ἴστε ὅτι τὴν ἐλευθερίαν ἑλοίμην ἂν ἀντὶ ὧν ἔχω πάντων -καὶ ἄλλων πολλαπλασίων». - -\end{quote} - -Except the script \textit{theta} to closed \textit{theta} substitution, the -\texttt{mgrk} feature allows to change the appearance of some other glyphs. -This includes \textit{kappa} in all font styles and \textit{rho} in italic -(in regular and bold the default shape for this character is Unicode conforming). -Note that the k-shaped glyph for \textit{kappa}, which can be activated by this way, -doesn't harmonize well with other Didot-styled letters (although I've done my -best to make it aesthetically acceptable), so using it anywhere outside of -math contexts is not recommended. - -Old Standard also implements stroked \textit{phi} (\texttt{U+03D5}), omega-like -\textit{pi} (\texttt{U+03D6}) and lunate epsilon (\texttt{U+03F5}). There are -no special “smart” font features to get those glyph substituted instead of -default letterforms, so they can be accessed only by their Unicode codepoints. -Again, there is no reason to do so when typesetting ordinary Greek texts, -although the glyphs might be useful in mathematical contexts. - -The same statement would be true for the lunate \textit{sigma}, both small and -capital: although it is sometimes reasonable to use this form e. g. for -typesetting papyrological texts (where word breaks and thus the usage of -final sigmas are sometimes not obvious), it is probably impossible to -implement a lunate sigma fully conforming the Didot style. So I don't -recommend using this letterform and have implemented it mainly in order -to make existing documents which use this character (such as some texts -from the \href{http://www.tlg.uci.edu}{Thesaurus Linguae Graecae} corpus) -readable. - -\subsubsection{Combining Mark Positioning} - -Unicode provides codepoints for all accented characters needed for the -standard Greek orthography, and yet this set is often insufficient for -classicists. The most common problem is combining a breathing and/or an -accent with a macron or a breve mark. Also one often has to put a macron, -a breve or a circumflex above \textit{epsilon} or \textit{omicron} when -publishing epigraphical documents, although such combinations make no sense -for literary Greek. For this reason some Unicode Greek fonts include a huge -number of additional accented characters in the Unicode Private Use Area. -The most important problem here is that each vendor uses its own -arrangement of PUA slots, so that fonts are often incompatible with each -other, especially because very few of them have more or less correct OT -layouts allowing to access those glyphs without typing them directly. - -Old Standard uses a different approach: it has a carefully adjusted set of -anchor points and \texttt{ccmp} rules, which allow to correctly position -accent marks relatively to each other and combine breathings with accents -to specially designed combinations, when necessary. Moreover, when you -type a capital letter folowed by one or more accents, these accents are -placed \textit{before} the letter, and the letter itself is shifted right -to the necessary amount of space. Thus you can type any possible accented -combination using combining marks, if only your application supports smart -accent positioning (but this is not a problem at least with Microsoft Word -2003 and above). Note that you should observe the following order of typing -diacritics: first a macron or a breve, then a breathing and finally an -accent. For example, combining marks were used to type the following -fragment of the Mantinea inscription: - -\begin{quote} -\large - -\fontspec[Script=Greek, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -ὀσ̱έοι ἂν χρε̄στε̄́ριον κακρίνε̄ || ε̄̓̀ γνο̄σίαι κακριθε̄́ε̄ το̄͂ν χρε̄μάτο̄ν, | πὲ τοῖς -ϝοικιάται(ς) τᾶς θεο̄͂ ε̄̓͂ναι, κὰ ϝοικίας δάσασθαι τὰς ἂν ο̄̓͂δ᾽ ἐάσας. εἰ τοῖς -ϝο̄φλε̄κόσι ἐπὶ τοῖδ’ ἐδικάσαμε[ν], | ἄ τε θεὸς κὰς οἰ δικασσταὶ, -ἀπυσ̱εδομίν[ος] || το̄͂ν χρε̄μάτο̄ν τὸ λάχος, ἀπεχομίνος | κὰ το̄̓ρρέντερον γένος -ε̄̓͂ναι | ἄματα πάντα ἀπὺ τοῖ ἰεροῖ, ἴλαον ε̄̓͂ναι. - -\smallskip - -\itshape -ὀσ̱έοι ἂν χρε̄στε̄́ριον κακρίνε̄ || ε̄̓̀ γνο̄σίαι κακριθε̄́ε̄ το̄͂ν χρε̄μάτο̄ν, | πὲ τοῖς -ϝοικιάται(ς) τᾶς θεο̄͂ ε̄̓͂ναι, κὰ ϝοικίας δάσασθαι τὰς ἂν ο̄̓͂δ᾽ ἐάσας. εἰ τοῖς -ϝο̄φλε̄κόσι ἐπὶ τοῖδ’ ἐδικάσαμε[ν], | ἄ τε θεὸς κὰς οἰ δικασσταὶ, -ἀπυσ̱εδομίν[ος] || το̄͂ν χρε̄μάτο̄ν τὸ λάχος, ἀπεχομίνος | κὰ το̄̓ρρέντερον γένος -ε̄̓͂ναι | ἄματα πάντα ἀπὺ τοῖ ἰεροῖ, ἴλαον ε̄̓͂ναι. - -\end{quote} - -Old Standard includes also several precomposed accented Greek characters in -the PUA, added for compatibility with -\href{http://www.users.dircon.co.uk/~hancock/index.htm}{Ralph Hancock}’s -fonts. However, you should use those characters with a caution and only if -your application doesn’t support combining mark positioning. - -\subsubsection{Tilde-Shaped Circumflex vs. Lunate Circumflex} - -Greek circumflex (perispomeni) often becomes a matter of discussions. I -know, that some (mostly English and American) classicists prefer porsonic -(lunate) circumflex, similar to an inverted breve, mainly because this form is -characteristic for most Greek fonts traditionally used in English and -American typography. However, in fact the preferred design of this accent -is a purely font specific question. For most typefaces of the continental -European origin (such as Didot or Teubner) only the tilde-shaped form is -acceptable, as inverted breve just cannot be harmonized with most letters. -So, don’t ask me to implement a version with “porsonic” circumflex. - -\subsubsection{Iota Adscript vs. Iota Subscript} -\hypertarget{isub}{}\label{isub} - -Combinations of Greek vowels with “mute” iota, defined in Unicode, is one -more important group of glyphs, which may be designed by various ways, -depending from the designer’s preferences. Most ancient Greek language -manuals state that mute iota (called \textit{iota subscript}) is written -below lowercase letters, but after capital vowels a regular small iota, -written inline and so called \textit{iota adscript}, should be used -instead. Currently most Unicode Greek fonts follow this convention, and -many classicists even suppose any over implementations of uppercase -combinations with mute iota to be illegal. - -However, iota subscript below capital letters also may occur in some -editions. In particular, this orthography is very common for liturgical -books of the Greek Orthodox church. Particularly I prefer this typographic -tradition, not only because it is inherited from fine Greek typography of -the past centuries, but also for some technical reasons. The problem here -is that, if a mute iota is designed as a regular iota and printed inline, -it should behave as a separate character. This means that, when -letterspacing for the surrounding text is changed, the distance between the -iota and the preceding vowel should be scaled too. Of course this is -impossible if both characters are implemented as a single glyph. - -That’s why in Old Standard mute iota is looks like a iota subscript in -all accented combinations with capital vowels. Note that \textit{unaccented} -capital vowels with mute iota represent a special case: unlike their -accented counterparts, they are used in upper case only, i.~e. may occur -only in a fully capitalized text. So for these glyphs (namely, Unicode -characters \texttt{U+1FBC}, \texttt{U+1FCC}, \texttt{U+1FFC}) I have designed a special version of -iota adscript, which looks like a \textit{capital} Iota, decreased in size. -To my mind, this shape will better match to the design of surrounding -capital glyphs. - -Such an implementation of capital vowels with mute iota has nothing wrong -by itself, but, of course, it would be nice to allow replacing each of -affected Unicode codepoints with a pair of glyphs: the vowel itself and a -regular iota. Theoretically, this could be done by applying a smart font -feature, but, unfortunately, I am not aware of any suitable OpenType -feature, which: - -\begin{itemize} - -\item can be used for replacing a single glyph with two or more glyphs, as in -our case; - -\item can be disabled if a user doesn’t like it. - -\end{itemize} - -Things are different for \hyperlink{Graphite}{Graphite}, since this -technologie doesn't impose any limitations on the number and usage of -features the designer would consider appropriate. That's why in Graphite-enabled -applications Old Standard now uses the adscript design by default. This -can be easily changed by applying another value to the appropriate -feature. Unfortunately I can't implement the same behavior in a way -compatible with OpenType, so all other applications will just use the -default glyphs for capital vowels with the mute iota. If you absolutely -don’t like the subscript design, at least you can always type regular -iota as a separate character. - -\subsection{Cyrillic Script} - -\subsubsection{Combining Mark Positioning} - -Smart combining mark positioning is often necessary for Cyrillic. -Although the stress is usually not indicated in modern languages which use -the Cyrillic script, accentuation is still mandatory for textbooks, -dictionaries and books for children. This is especially important for -Serbian, which has long and short vowels and four types of accent. -Nevertheless, there are virtually no precomposed Cyrillic accented -characters in Unicode, so that using combining marks remains the only -option. So Old Standard provides all necessary anchor points allowing to -place accents above Cyrillic vowels (see the following sections about -Serbian and Old Slavonic for examples). - -\subsubsection{Serbian Alternate Forms} - -It is a well known fact, that, except several specific letters, Serbian -Cyrillic alphabet also has different preferred shapes for some letters -common for most languages which use the Cyrillic script. According to the -most common opinion, four Serbian variant forms are specific for the -italic style, while one can occur both in roman and italic styles, as -\autoref{fig:serbian} demonstrates. This practice was adopted by many font -designers, and Adobe even included Serbian variant forms into its Cyrillic -specification, although they have not been accepted by Unicode. - -\begin{figure} - -\centerline{\XeTeXpicfile "serbian.png" width 80mm} - -\caption{Serbian and Macedonian variant forms. Russian norms on the left, -Serbian and Macedonian norms on the right} -\label{fig:serbian} - -\end{figure} - -However, after studying several examples of old Serbian printing (a small -collection of such examples was previously available at the site of the -faculty of Mathematics at the Belgrade university) I have an impression that -the modern practice is not fully justified by the preceding tradition. - -As far as I can see, there are only two letters (namely Cyrillic \textit{п} -and \textit{т}), which always have typically “Serbian” forms, clearly -distinct from their Russian counterparts. However, the late -19\textsuperscript{th} and early 20\textsuperscript{th} century editions, -set with Modern typefaces, also show a significant difference from the -contemporary “Serbian” style, as the horizontal bar (the most -characteristic feature of “Serbian” \textit{п} and \textit{т}) is attached -to the base glyph rather than positioned above it (like a diacritical -mark). The \textit{т} also may look like a slanted upright glyph, but I -have preferred to draw both \textit{п} and \textit{т} in the same -“historical” style. - -It is especially important to stress that “Serbian” \textit{д} with a hook -below seems to never occur in the traditional Serbian printing, although -there was absolutely no problem to reproduce this form, if somebody -considered it correct, as Latin italic \textit{g} has exactly the same -shape in Modern typefaces of the early 20\textsuperscript{th} century. My -own opinion is that the contemporary Serbian letterform first appeared as a -result of uncritically reproducing the handwritten shape, erroneously -considered typically Serbian (actually it is not, as the same style is -preferred also in the Russian handwriting, which doesn’t mean this practice -should necessarily be reflected in printing). On the other hand, I have an -impression that the “Russian” italic \textit{д} (with an ascender) is also -not so common in Serbian printing: often it is replaced with a slanted -version of the upright letter. This glyph seemed a good compromise for me: -based on the historical tradition and at the same time certainly acceptable -for those Serbs who absolutely don’t like the Russian form. - -In Old Standard only three italic letters, listed above (\textit{д}, -\textit{п} and \textit{т}) form the default set of Serbian alternate forms, -which are automatically enabled when you mark a text with Serbian language. -Alternatively, if your application doesn’t support the \texttt{locl} -feature tag (which is probably the case) you can achieve the same result by -enabling the stylistic set 11. Here an example of a fully accentuated -Serbian text, which demonstrates both the combining mark positioning and -the localized forms in the italic style: - -\begin{quote} -\large - -\fontspec[Script=Cyrillic,Language=Serbian, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -На но̀ве̄мбарско̄м су̑нцу прѐврће̄ се пр̏љава̄ у̏троба на̏ше̄ ку̏ће̄. Чу̏дно сам ту̑жан. -И док но̏сӣм с ма̑јко̄м си̑вӯ о̀тр̄ца̄нӯ сла̏марицу ту̑по за̀гледан у јѐдан мр̑твӣ -о̏бла̄к над цр̑нӣм, ни̏скӣм кро̀во\-вима на̏ше̄г прѐдгра̄ђа~— са̀плиће̄м се о пра̏г. О̀на -ми ка̑же̄: „Па̏зи“. О̏нда̄ бри̑жно: „Шта̏ ти је да̀нас?“ О̀на је ве̏лика гла̑дна̄ жѐна, -си́во̄ст ѝзбӣја̄ ѝз ње̄. У̀опште, све̏ је да̀нас си̑во. И не̏бо, и на̏ша а̀влија, и -шу́паљ, гра̀нат о̀рах сред ње̑, и о̀ве̄ на̏ше ства̑ри ко̀је̄, јѐдна по јѐдна, ѝзлазе̄ -на да̑н. - -\smallskip - -\itshape -На но̀ве̄мбарско̄м су̑нцу прѐврће̄ се пр̏љава̄ у̏троба на̏ше̄ ку̏ће̄. Чу̏дно сам ту̑жан. -И док но̏сӣм с ма̑јко̄м си̑вӯ о̀тр̄ца̄нӯ сла̏ма\-рицу ту̑по за̀гледан у јѐдан мр̑твӣ -о̏бла̄к над цр̑нӣм, ни̏скӣм кро̀вовима на̏ше̄г прѐдгра̄ђа~— са̀плиће̄м се о пра̏г. О̀на -ми ка̑же̄: „Па̏зи“. О̏нда̄ бри̑жно: „Шта̏ ти је да̀нас?“ О̀на је ве̏лика гла̑д\-на̄ жѐна, -си́во̄ст ѝзбӣја̄ ѝз ње̄. У̀опште, све̏ је да̀нас си̑во. И не̏бо, и на̏ша а̀влија, и -шу́паљ, гра̀нат о̀рах сред ње̑, и о̀ве̄ на̏ше ства̑ри ко̀је̄, јѐдна по јѐдна, ѝзлазе̄ -на да̑н. - -\end{quote} - -The case of the letter \textit{б} is basically the same as one of the -\textit{д}. The only difference here is that the “script” form actually -seems to be more common for Russian, than for Serbian printing, although in -the Russian tradition it is applicable only for the italic style. At least -it was used in the italic version of one particular “Standard” typeface of -early 20\textsuperscript{th} century. That’s why I have implemented this -letterform in Old Standard, although the italic version of the glyph is -actually based on a Russian source, and the upright shape has been added -just for completeness. These glyphs are not automatically applied for -Serbian text by default, but you can enable the stylistic set 12 to get -them substituted, as in the following example: - -\begin{table}[h!] -\centering\LARGE - -\begin{tabular}[c]{ccc} - -\fontspec[Script=Cyrillic,Language=Serbian,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard}мртви облак & ⇒ & -\fontspec[Script=Cyrillic,Language=Serbian,RawFeature=+ss12, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard}мртви облак \\ -\fontspec[Script=Cyrillic,Language=Serbian,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard}\itshape мртви облак & ⇒ &\itshape -\fontspec[Script=Cyrillic,Language=Serbian,RawFeature=+ss12, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard}мртви облак \\ - -\end{tabular} -\end{table} - -Finally, the case of “Serbian” \textit{г} is a bit special: here the -specific shape is really justified by the peculiarities of the Serbian -handwriting tradition, and yet the letterform normally used in pre-computer -Serbian printing was typically Russian, i.~e. had no horizontal bar above. -Particularly I think the modern “Serbian” variant has nothing wrong by -itself, but, of course, it is difficult to implement it, if both -\textit{п} and \textit{т} are designed in the historical style, so that -there is no gap between the bar and the base glyph. Nevertheless I have -attempted to implement a Serbian \textit{г} in the same style as \textit{п} -and \textit{т}, basing on -\href{http://cirilica.com/cirilica/Strane/Slova/Azbuka.html}{the -recommendations by Nikola Kovanovich}, but this glyph is purely -experimental, and thus currently it is not accessible via any OpenType -features. - -\subsubsection{Old Slavonic and Church Slavonic} - -Until 2008, Unicode included only a subset of historical Cyrillic -characters, which was not sufficient for typesetting any actual texts. -Thus legacy encodings or PUA-based solutions were the only solution for -representing historical documents in old Slavic languages which used -the Cyrillic script. In Unicode 5.1 the range of supported early -Cyrillic characters was greatly extended and now includes all letters -and signs normally used in scientific publication and Orthodox liturgical -books (including even combining letters). Beginning from the version -2.0 Old Standard fully supports historical Cyrillic, including Unicode -5.1 extensions. - -However, except just having all necessary characters available in a font, -typesetting Old Slavonic or Church Slavonic also requires some complex -text rendering. So the following smart font features necessary for this -purpose are implemented in Old Standard: - -\begin{description} - -\item[Combining mark positioning] Old Slavonic (and especially modern -Church Slavonic) has a wide range of combining characters, such as accents, -breathings, titlos and superscript letters. Basically the accentuation -system is very similar to Greek one, but, unlike for Greek, there are no -precomposed accented characters available in Unicode, so that using -combining marks is the only option. - -\item[Enclosing combining marks] Church Slavonic inherited from Greek -its numeric system, where numbers are denoted with letters. However, special -enclosing marks, shown in the following table, have been invented to denote -large numbers beginning from 10000: - -\begin{table}[h!] -\centering -\begin{tabular}[c] -{|>{\fontspec[Script=Cyrillic,Language=Church Slavonic, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard}} -p{4em}|p{5.6em}|p{5.6em}|} -\hline -\textit{Notation}& \textit{Numerical meaning}& \textit{Old Slavonic name}\\ -\hline - \Large\hfil{а҃⃝}\hfil & 10\,000 & тьма\\ -\hline - \Large\hfil{а҃҈}\hfil & 100\,000 & легион\\ -\hline - \Large\hfil{а҃҉}\hfil & 1\,000\,000 & леодр\\ -\hline - \Large\hfil{а҃꙰ }\hfil & 10\,000\,000 & ворон\\ -\hline - \Large\hfil{а҃꙱ }\hfil & 100\,000\,000 & колода\\ -\hline -\end{tabular} -\end{table} - -Old Standard implements two types of OT lookups to achieve proper positioning -for this kind of marks: first, standard anchor points (the \texttt{mark} -feature) used to attach a mark to a base character, and second, contextual -positioning lookups allowing to increase the base character bearings and -advance width when it is followed by enclosing marks. Unfortunately, this -technique is not guaranteed to work in all OpenType-aware applications: in -particular at the time this manual was written contextual positioning did -not properly work in \XeTeX. - -\item[Historic letterforms] Although the modern Cyrillic script (so called -“civil” style) is often used to typeset medieval texts, some of the modern -letterforms are especially closely associated with the typographic reform under -Peter the Great, and thus would look out of place in a historical context. -That's why Old Standard provides some stylistic alternates, specially intended -for Old Russian and Old (Church) Slavonic: - -\begin{table}[h!] -\centering\LARGE -\begin{tabular}[c]{cccc} - -\fontspec[Script=Cyrillic,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -не вѣдыи бѹдѹщаго & -⇒ & -\fontspec[Script=Cyrillic,Language=Church Slavonic, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -не вѣдыи бѹдѹщаго &\\ - -\fontspec[Script=Cyrillic,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -\itshape не вѣдыи бѹдѹщаго & -⇒ & -\fontspec[Script=Cyrillic,Language=Church Slavonic, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -\itshape не вѣдыи бѹдѹщаго &\\ - -\end{tabular} -\end{table} - -These alternates are enabled for Old Church Slavonic, if -your application understands the \texttt{locl} feature tag and allows -to mark a text with this language. Alternatively you can get the same -substitutions by applying the stylistic set 14 (\texttt{ss14}). - -There is also an additional stylistic set (\texttt{ss15}) intended to handle -the Cyrillic I vs. Cyrillic N problem. It is a well known fact that in the oldest -Cyrillic manuscripts these two letters looked more like their Greek prototypes -(\textit{Eta} and \textit{Nu}), and only in 15\textsuperscript{th} century -the middle bar slope has aquired its modern form. However using an H-shaped -Cyrillic I and N-shaped Cyrillic N by default (even for typesetting Old Slavonic) -would probably be misleading in some context. So these substitutions (they are -available only in regular and bold) are optional: - -\begin{table}[h!] -\centering\LARGE -\begin{tabular}[c]{cccc} - -\fontspec[Script=Cyrillic,Language=Church Slavonic,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -не вѣдыи бѹдѹщаго & -⇒ & -\fontspec[Script=Cyrillic,Language=Church Slavonic,RawFeature=+ss15, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -не вѣдыи бѹдѹщаго &\\ - -\end{tabular} -\end{table} - -\item[Contextual letterforms] Some Cyrillic letters have tall ascenders, -while in medieval manuscripts the same letters normally did not extend above -x-height, so that it was possible to put an accent or a combining letter -above them. Old Standard includes special low forms for some of such letters -(namely \textit{б} and \textit{ѣ}) and can automatically subsitute them -when the letter is followed by an accent: - -\begin{table}[h!] -\centering\LARGE -\fontspec[Script=Cyrillic,Language=Church Slavonic, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} - -\begin{tabular}[c]{ccc} - -\fontspec[Script=Cyrillic,Language=Church Slavonic,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -прѣдъ богомъ & ⇒ & прѣⷣ҇ бⷢ҇омъ \\ -\fontspec[Script=Cyrillic,Language=Church Slavonic,Color=696969, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -\itshape прѣдъ богомъ & ⇒ &\itshape прѣⷣ҇ бⷢ҇омъ \\ - -\end{tabular} -\end{table} - -\end{description} - -Finally an example of Old Slavonic text with combining marks and historic -letters and letterforms: - -\begin{quote} -\large - -\fontspec[Script=Cyrillic,Language=Church Slavonic, - ItalicFont = *-Italic, - UprightFont = *-Regular, - ]{OldStandard} -А҆ ѡ҆ сеⷨ Иракліи и҆ною̀ притчею рекоша сеⷤ Феѡ҆́фиⷧ҇ мⷣрыи хронограⷴ написа. -Є҆рміи же раⷥумѣвь на нь творѧщꙋся братію ѿиде, ꙁлато многѡ̀ вꙁемъ, и҆ и҆де -въ Є҆гѷпеⷮ҇ къ коленꙋ Хамову сн҃а Ноєва. иⷤ и҆ пріаша є҆́го с̾ честію. и҆ живе -тѹ во̑ вѣлице чьсти, носѧ риꙁу ꙁлаⷮу и҆ мⷣрствꙋꙗ҆́ше па Є҆гѷпетскыⷯ влъхвоⷯ҇, -влъх̾вѹѧ и҆ повѣда и҆мъ хотѧщаѧ̀ быти. бѣ̏ же и҆ хїтръ бесѣдаⷨ. и҆ кланѧхꙋсѧ -є҆́му гл҃ще б҃ъ Є҆рміин ꙗ҆ко повѣдающа иⷨ хотѧщаѧ̀ быти и҆мъ и повѣдающа -иⷨ и҆мѣніє є҆гоⷤ и дателѧ богаⷮствѹ нарицахѹ ꙗ҆ко ꙁлат̾наго б҃а мнѧще. - -\smallskip\itshape - -А҆ ѡ҆ сеⷨ Иракліи и҆ною̀ притчею рекоша сеⷤ Феѡ҆́фиⷧ҇ мⷣрыи хронограⷴ написа. -Є҆рміи же раⷥумѣвь на нь творѧщꙋся братію ѿиде, ꙁла\-то многѡ̀ вꙁемъ, и҆ и҆де -въ Є҆гѷпеⷮ҇ къ коленꙋ Хамову сн҃а Ноєва. иⷤ и҆ пріаша є҆́го с̾ честію. и҆ живе -тѹ во̑ вѣлице чьсти, носѧ риꙁу ꙁлаⷮу и҆ мⷣрствꙋꙗ҆́ше па Є҆гѷпетскыⷯ влъхвоⷯ҇, -влъх̾вѹѧ и҆ повѣда и҆мъ хотѧщаѧ̀ быти. бѣ̏ же и҆ хїтръ бесѣдаⷨ. и҆ кланѧхꙋсѧ -є҆́му гл҃ще б҃ъ Є҆рміин ꙗ҆ко повѣдающа иⷨ хотѧщаѧ̀ быти и҆мъ и повѣдающа -иⷨ и҆мѣніє є҆гоⷤ и дателѧ богаⷮствѹ нарицахѹ ꙗ҆ко ꙁлат̾наго б҃а мнѧще. - -\end{quote} - -\omit{ - -\subsection{Graphite Support} -\hypertarget{Graphite}{}\label{Graphite} - -\href{http://scripts.sil.org/Graphite}{Graphite} is a rendering technologie -developed by \href{http://www.sil.org}{SIL International}. It is similar -to OpenType at some aspects, but doesn't prescribe a list of features with -predefined meanings and their possible implementations, thus leaving more -freedom to a font designer. Another advantage of Graphite is that it gives -a better control on some subtle aspects of font behavior. However, this -technologie isn't currently widely supported: except SIL's own -\href{http://scripts.sil.org/WorldPadDownload}{WorldPad} editor (a -Windows-only application which requires a .NET runtime), the Graphite -support is now built into OpenOffice.org (beginning from the 3.2 version) -and LibreOffice. There is also an open-source project to put Graphite -support into Mozilla. - -This means the Graphite support in Old Standard would be mostly actual for -OpenOffice.org/LibreOffice users. Since this office suite still lacks -proper OpenType support for Wester scripts (its Windows version depends -from Miscrosoft Uniscribe rendering engine), Graphite gives a nice -possibility to get a consistent rendering both on Linux and Windows -platforms. It also provides an optional features support (although for -reasons discussed below I'd not recommend to actively use it at the -present time). - -Note that it is currently not possible to add Graphite tables to -OpenType-CFF fonts. So for now the technologie is only supported by -the TrueType version of Old Standard. - -\subsubsection{Graphite Features in Old Standard} - -In Graphite fonts each feature is identified by a human-readable name -(which may be localized, but Old Standard currently includes only US -English names) and a unique ID. Those IDs are often numerical, but in -Old Standard 4-letter codes, similar to OpenType feature tags, are used -for this purpose. A Graphite feature normally has several states (or -settings), which again have their own names and IDs. In the simplest case -a feature is boolean, i.~e. supports just two two possible settings: 1 -(true) and 0 (false). - -The following table lists all Graphite features defined in Old Standard -with their possible settings. It also tells which settings are available -for each particular style (for example, there are no required Serbian -forms in regular and bold). The last column shows the correspondences between -OpenType and Graphite features. Note that some cells in this columns are -left blank, and this means the given feature setting corresponds to the -default font behavior, without any OpenType features applied. A dash (---) -indicates there is no OpenType feature similar to this Graphite -feature/setting pair. - -\begin{center} -\setlength{\tabcolsep}{2.4pt} -\begin{longtable}[c]{|>{\raggedright}p{11.2em}|T|>{\raggedright}p{8.4em}|p{2em}|c|c|c|T|} -\hline -\multicolumn{2}{|B|}{\rule{0pt}{14pt}Supported Features} & \multicolumn{2}{B|}{Feature Settings} & -\multicolumn{3}{B|}{Font Styles} & \multicolumn{1}{B|}{OpenType}\\ -\cline{1-7} -\multicolumn{1}{|B|}{\rule{0pt}{14pt}English Name} & \multicolumn{1}{B|}{ID} & \multicolumn{1}{B|}{Name} & -\multicolumn{1}{B|}{ID} & \multicolumn{1}{B|}{Rg} & \multicolumn{1}{B|}{Bd} & -\multicolumn{1}{B|}{It} & \multicolumn{1}{B|}{equiv.}\\ -\hline - -Diagonal Fractions & frac & False/True & 0/1 & + & + & + & frac\\ -\hline - -Vertical Position & vpos & Normal Vertical Position & 0 & + & + & + & \\ -\cline{3-8} - -& & Superiors & 1 & + & + & + & sups \\ -\cline{3-8} - -& & Inferiors & 2 & + & + & + & subs \\ -\hline - -Ligatures & liga & No Ligatures & 0 & + & + & + & \\ -\cline{3-8} - -& & Common Ligatures & 2 & + & + & + & liga\footnote{\texttt{dlig} for German.} \\ -\hline - -Diphthong Ligatures & dphl & False/True & 0/1 & + & + & + & dlig\\ -\hline - -French Spacing Rules\newline for Punctuation Marks & frsp & False/True & 0/1 & + & + & + & -\\ -\hline - -Localized Forms\newline for Romanian & rolc & No Localized Forms & 0 & + & + & + & \\ -\cline{3-8} - -& & Required\newline Localized Forms & 1 & + & + & + & locl; ss01 \\ -\hline - -Localized Forms\newline for Serbian & srlc & No Localized Forms & 0 & + & + & + & \\ -\cline{3-8} - -& & Required\newline Localized Forms & 1 & − & + & − & locl; ss11 \\ -\cline{3-8} - -& & Optional\newline Localized Forms & 2 & + & + & + & ss12 \\ -\hline - -Localized Forms\newline for Old Slavonic & oslc & No Localized Forms & 0 & + & + & + & \\ -\cline{3-8} - -& & Required\newline Localized Forms & 1 & + & + & + & locl; ss14 \\ -\cline{3-8} - -& & Optional\newline Localized Forms & 2 & + & − & + & ss15 \\ -\hline - -Greek Punctuation Marks & elpt & False/True & 0/1 & + & + & + & locl\\ -\hline - -Mathematical Greek & mgrk & False/True & 0/1 & + & + & + & mgrk\\ -\hline - -Greek Theta & elth & Script Form & 0 & + & + & + & \\ -\cline{3-8} - -& & Closed Form & 1 & + & + & + & ss05\\ -\hline - -Contextual Forms\newline for Greek & elct & False/True & 0/1 & + & + & + & ss06\\ -\hline - -Greek Accents & elmk & Before Capitals & 0 & + & + & + & \\ -\cline{3-8} - -& & Above Capitals & 1 & + & + & + & —\\ -\hline - -Greek Mute Iota\newline with Capitals & elis & Adscript & 0 & + & + & + & —\\ -\cline{3-8} - -& & Subscript & 1 & + & + & + & \\ -\hline - -Capitalized Greek & elcp & False/True & 0/1 & + & + & + & —\\ -\hline - -Language-Dependent Feature Modifications & fmod & Default & 0 & + & + & + & \\ -\cline{3-8} - -& & Dutch & 19 & + & + & + & —\\ -\cline{3-8} - -& & Turkish & 31 & + & + & + & —\\ -\hline - -\end{longtable} -\end{center} - -Note that some OpenType features, supported by Old Standard, (such as -\texttt{ccmp}, \texttt{mark} or \texttt{mkmk}) are not listed in this -table. In fact my Graphite tables implement nearly the same functions -as provided by those features, but the corresponding rules are considered -mandatory and always executed, so there are no optional features to -control them. On the other hand, you can see that most Graphite features -have their OpenType equivalents. However, due to more flexible nature -of the Graphite technologie it was possible to describe some additional -features, which would be too difficult to implement in OpenType. These -features are listed below. - -\begin{description} - -\item[French Spacing Rules] This feature adds extra space to some -punctuation marks, as required by the French typographic rules. It will -be on by default for a French text. - -\begin{table}[h!] -\centering\LARGE -\begin{tabular}[c]{>{\fontspec[Script=Latin,Color=696969]{Old Standard TT}}cc ->{\fontspec[ - Renderer=Graphite, - ItalicFont=OldStandardTT-Italic, - RawFeature={French Spacing Rules for Punctuation Marks=True}]{Old Standard TT}}c} - -Il a dit: «Bonjour!» & ⇒ & Il a dit: «Bonjour!»\\ -\itshape Il a dit: «Bonjour!» & ⇒ &\itshape Il a dit: «Bonjour!»\\ - -\end{tabular} -\end{table} - -\item[Greek Accents] Setting this feature to the “Above Capitals” state -causes Greek accents/breathings to be displayed above capital letters -instead of their default position before capitals. This convention would -probably look a bit chocking for a modern classicist, but it was quite -common in Greek 19\textsuperscript{th} century typography. - -\begin{table}[h!] -\centering\LARGE - -\begin{tabular}[c]{>{\fontspec[Script=Greek,Color=696969]{Old Standard TT}}cc ->{\fontspec[ - Renderer=Graphite, - ItalicFont=OldStandardTT-Italic, - RawFeature={Greek Accents=Above Capitals}]{Old Standard TT}}c} - -ᾨδὴ ἐν ᾍδη & ⇒ & ᾨδὴ ἐν ᾍδη \\ - -\itshape ᾨδὴ ἐν ᾍδη & ⇒ &\itshape ᾨδὴ ἐν ᾍδη \\ - -\end{tabular} -\end{table} - -\item[Greek Mute Iota with Capitals] This feature allows to select the -preferred style of the Greek mute iota in combination with capital -letters. See \autoref{isub} for more information of this issue. Note -that the adscript style (i.~e. a normal lowercase iota) is used -by default if the Graphite rendering is enabled, while in applications -which don't support Graphite the corresponding glyphs are always -rendered with iota subscript. - -\begin{table}[h!] -\centering\LARGE - -\begin{tabular}[c]{>{\fontspec[Script=Greek,Color=696969]{Old Standard TT}}cc ->{\fontspec[ - Renderer=Graphite, - ItalicFont=OldStandardTT-Italic, - RawFeature={Greek Mute Iota with Capitals=Adscript}]{Old Standard TT}}c} - -ᾨδὴ ἐν ᾍδη & ⇒ & ᾨδὴ ἐν ᾍδη \\ - -\itshape ᾨδὴ ἐν ᾍδη & ⇒ &\itshape ᾨδὴ ἐν ᾍδη \\ - -\end{tabular} -\end{table} - -\item[Capitalized Greek] This feature converts lowercase Greek letters -to uppercase. The accents/breathings are removed, unless the “Greek -Accents” feature is set to “Above Capitals”: - -\begin{table}[H] -\centering\LARGE - -\begin{tabular}[c]{>{\fontspec[Script=Greek,Color=696969]{Old Standard TT}}cc ->{\fontspec[ - Renderer=Graphite, - ItalicFont=OldStandardTT-Italic, - RawFeature={Capitalized Greek=True}]{Old Standard TT}}c} - -ἄυλος αὐλὸς & ⇒ & ἄυλος αὐλὸς \\ - -\itshape ἄυλος αὐλὸς & ⇒ &\itshape ἄυλος αὐλὸς \\ - -\end{tabular} -\end{table} - -Ιn the later case the diacritical marks preserved, but placed at the top of -the capitalized letters: - -\begin{table}[h!] -\centering\LARGE - -\begin{tabular}[c]{>{\fontspec[Script=Greek,Color=696969]{Old Standard TT}}cc ->{\fontspec[ - Renderer=Graphite, - ItalicFont=OldStandardTT-Italic, - RawFeature={ - Capitalized Greek=True; - Greek Accents=Above Capitals}]{Old Standard TT}}c} - -ἄυλος αὐλὸς & ⇒ & ἄυλος αὐλὸς \\ - -\itshape ἄυλος αὐλὸς & ⇒ &\itshape ἄυλος αὐλὸς \\ - -\end{tabular} -\end{table} - -\item[Language-Dependent Feature Modifications] This feature may modify -the effect produced by some other features depending from its current -setting. For example, in the Turkish mode fi-ligatures are disabled. In -OpenType the same effect is achieved by associating a feature lookup -with a specific combination of scripts/languages. It is not recommended -to manually change settings of this feature: they are supposed to be -activated by default depending from the language assigned to a text in -your application. - -\end{description} - -\subsubsection{Using Graphite Features in OpenOffice.org/LibreOffice} - -\begin{figure}[htb] - -\centerline{\XeTeXpicfile "graphite-ooo-extension.png" width 104mm} - -\caption{The window of the Graphite Font Extension for OpenOffice.org, -displaying the Graphite features of Old Standard.} - -\hypertarget{fig:graphite-ext}{}\label{fig:graphite-ext} - -\end{figure} - -OpenOffice.org 3.2 and above (or LibreOffice) automatically recognizes -fonts which contain Graphite tables. For such fonts Graphite rendering -is enabled by default. However, currently there is no special GUI -allowing to select typographic features (either OpenType or Graphite). -Instead, a special extended font name syntax has been developed: in -order to activate an optional feature, its ID, followed by an equals -sign and the ID of the desired setting, are appended directly to the -font name string. An ampersand is used to separate different feature/settings -pairs. - -For example, the following “font” should be used in order to get -capitalized Greek text with accents and breathings placed -above letters: - -\begin{verbatim} -Old Standard TT:elmk=1&elcp=1 -\end{verbatim} - -Of course modifying the font name directly is very inconvenient, since -it is difficult to remember short tags and numerical values used for -feature/setting IDs in different fonts. Things may be simplified if you -install Keith Stribley's \href{http://www.thanlwinsoft.org/GraphiteOOoExt/} -{Graphite Font Extension}, which provides a \hyperlink{fig:graphite-ext}{dialog} -to make feature selection easy. - -However, at the present time (as for March 2011) this extension should be -used with a caution due to several problems related both with the extension -itself and the Graphite renderer: - -\begin{itemize} - -\item the extension cannot determine which feature settings are supposed -to be on for the current text language. For example, in Old Standard -common ligatures are enabled by default but disabled for German. -Thus you can't activate the standard Latin ligatures in a German text -with the Graphite extension, since it will consider they are already on; - -\item the displayed list of features and their possible settings will -always correspond to the regular font, even if the the selected text is -formatted in bold or italic; - -\item the extension doesn't care about the order of applied features, -and, unfortunately, this order may be significant, since applying multiple -features at once may sometimes lead to incorrect rendering. However, this -problems doesn't occur, if feature IDs are appended to the font name in -the same order as they are defined in the font file. - -\end{itemize} - -If you have experienced any of the problems described above, then you -have only two options available: either to avoid using optional features -at all, or to access them by modifying the font name directly. Refer -to the table above for the list of feature/setting IDs supported by -Old Standard. - -It is also possible that the Graphite renderer will do wrong things -for you, so that you want to avoid using it. Then you can either switch -to the OpenType-CFF version of the font (which doesn't support Graphite), -or to completely disable the Graphite engine for your OpenOffice.org -installation. You can do this by modifying the \texttt{SAL\_DISABLE\_GRAPHITE} -environment variable which is set in \texttt{\textasciitilde/.profile} on Linux and -\texttt{HKCU/environment} in the Windows registry. Graphite Font Extension -provides a GUI option to simplify this operation (however, it didn't work on -my Ubuntu box). - -\subsubsection{Using Graphite Features in \XeTeX} - -Graphite Support has recently been added to \XeTeX, which means Graphite -features are now accessible from \TeX{} documents. Moreover, it is possible -to enable the Graphite font renderer with the \texttt{fontspec} package, -which greatly simplifies selecting system-installed fonts in \LaTeX{} -documents for users of Unicode-based \TeX{} compilers (\XeTeX{} and \LuaTeX). -This functionality is relatively new, so you'll need at least \TeX{} Live 2010 -or Mik\TeX 2.9 for the recommendations below to work. - -You can activate the Graphite rendering mode for a particular font via the -the \texttt{Renderer} option (its value should be set to \texttt{Graphite}) -in the argument list of a font selection command (such as \verb|\fontspec|, -\verb|\newfontfamily| or \verb|\setmainfont|). Since there are no standard -feature tags in Graphite, most of the \texttt{fontspec} feature selection -interface is useless here: optional feature identifiers and their settings are -just passed to the \texttt{RawFeature} option (which normally serves -the last resort for accessing OpenType features which aren't supported otherwise). - -As the \texttt{fontspec} package author -\href{http://tex.stackexchange.com/questions/4324/using-graphite-fonts-on-xelatex}{has -explained}, both \texttt{<feature ID>=<setting ID>} and \texttt{<feature name>=<setting name>} -combinations can be used to specify the desired optional feature settings. -However in my tests the first syntax didn't work, probably because Old Standard -unlike most other Graphite fonts doesn't use numerical feature identifiers. So -for example in order to get capitalized Greek text with accents above vowels one -should write something like the following (note that settings passed to -\texttt{RawFeature} are separated with a semicolon: - -\begin{verbatim} -\fontspec[ - Renderer=Graphite, - RawFeature={ - Capitalized Greek=True; - Greek Accents=Above Capitals} - ]{Old Standard TT} -\end{verbatim} - -Of course this code is quite easy to understand, but it is surely not optimal -in terms of conciseness. - -The Graphite support in \XeTeX{} and \texttt{fontspec} is not very much tested, -and so various undesired effects may still occur. Here's a few problems I have -noticed with their solutions: - -\begin{itemize} - -\item \texttt{fontspec} sometimes would complain that the current roman font does not -support a particular script (say, Cyrillic or Greek). This error is reported because -\texttt{fontspec} expects to find the information about supported scripts in -the font's tables responsible for its “smart” rendering. Well, this makes some sense -for OpenType, but Graphite essentially has no “script” concept at all (it allows -to define language-specific some behavior, but doesn't group languages by their -script). So there is just no desired data in Graphite tables, and this leads -to an error. Fortunately the workaround is simple: it is sufficient to explicitly -tell \texttt{fontspec} to use the desired font for a particular script by defining -the appropriate font family. For example: - -\begin{verbatim} -\newfontfamily\greekfont[ - Renderer=Graphite - ]{Old Standard TT} -\end{verbatim} - -\item under certain conditions \XeTeX{} correctly loads additional font family -members (e.~g. bold or italic) but apparently doesn't recognize them as Graphite -fonts. The workaround is to explicitly specify all the additional styles in -\texttt{fontspec} options, e.~g.: - -\begin{verbatim} -\fontspec[ - Renderer=Graphite, - ItalicFont={OldStandardTT-Italic}, - BoldFont={OldStandardTT-Bold} - ]{Old Standard TT} -\end{verbatim} - -\end{itemize} - -} - -\chapter{GNU Free Documentation License} -\label{FDL} - -\begin{center} - -Version 1.2, November 2002 - -Copyright \copyright{} 2000,2001,2002 Free Software Foundation, Inc. - -\bigskip - -51 Franklin St, Fifth Floor, Boston, MA 02110-1301 USA - -\bigskip - -Everyone is permitted to copy and distribute verbatim copies of this -license document, but changing it is not allowed. - -\end{center} - -\subsection*{Preamble} - -The purpose of this License is to make a manual, textbook, or other -functional and useful document “free” in the sense of freedom: to assure -everyone the effective freedom to copy and redistribute it, with or without -modifying it, either commercially or noncommercially. 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