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-\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. Secondarily, this
-License preserves for the author and publisher a way to get credit for
-their work, while not being considered responsible for modifications made
-by others.
-
-This License is a kind of “copyleft”, which means that derivative works of
-the document must themselves be free in the same sense. It complements the
-GNU General Public License, which is a copyleft license designed for free
-software.
-
-We have designed this License in order to use it for manuals for free
-software, because free software needs free documentation: a free program
-should come with manuals providing the same freedoms that the software
-does. But this License is not limited to software manuals; it can be used
-for any textual work, regardless of subject matter or whether it is
-published as a printed book. We recommend this License principally for
-works whose purpose is instruction or reference.
-
-\section{Applicability and Definitions}
-\label{FDL:sec1}
-
-This License applies to any manual or other work, in any medium, that
-contains a notice placed by the copyright holder saying it can be
-distributed under the terms of this License. Such a notice grants a
-world-wide, royalty-free license, unlimited in duration, to use that work
-under the conditions stated herein. The “\textbf{Document}”, below,
-refers to any such manual or work. Any member of the public is a licensee,
-and is addressed as “\textbf{you}”. You accept the license if you copy,
-modify or distribute the work in a way requiring permission under copyright
-law.
-
-A “\textbf{Modified Version}” of the Document means any work containing the
-Document or a portion of it, either copied verbatim, or with modifications
-and/or translated into another language.
-
-A “\textbf{Secondary Section}” is a named appendix or a front-matter
-section of the Document that deals exclusively with the relationship of the
-publishers or authors of the Document to the Document’s overall subject (or
-to related matters) and contains nothing that could fall directly within
-that overall subject. (Thus, if the Document is in part a textbook of
-mathematics, a Secondary Section may not explain any mathematics.) The
-relationship could be a matter of historical connection with the subject or
-with related matters, or of legal, commercial, philosophical, ethical or
-political position regarding them.
-
-The “\textbf{Invariant Sections}” are certain Secondary Sections whose
-titles are designated, as being those of Invariant Sections, in the notice
-that says that the Document is released under this License. If a section
-does not fit the above definition of Secondary then it is not allowed to be
-designated as Invariant. The Document may contain zero Invariant Sections.
-If the Document does not identify any Invariant Sections then there are
-none.
-
-The “\textbf{Cover Texts}” are certain short passages of text that are
-listed, as Front-Cover Texts or Back-Cover Texts, in the notice that says
-that the Document is released under this License. A Front-Cover Text may
-be at most 5 words, and a Back-Cover Text may be at most 25 words.
-
-A “\textbf{Transparent}” copy of the Document means a machine-readable
-copy, represented in a format whose specification is available to the
-general public, that is suitable for revising the document
-straightforwardly with generic text editors or (for images composed of
-pixels) generic paint programs or (for drawings) some widely available
-drawing editor, and that is suitable for input to text formatters or for
-automatic translation to a variety of formats suitable for input to text
-formatters. A copy made in an otherwise Transparent file format whose
-markup, or absence of markup, has been arranged to thwart or discourage
-subsequent modification by readers is not Transparent. An image format is
-not Transparent if used for any substantial amount of text. A copy that is
-not “Transparent” is called “\textbf{Opaque}”.
-
-Examples of suitable formats for Transparent copies include plain ASCII
-without markup, Texinfo input format, LaTeX input format, SGML or XML using
-a publicly available DTD, and standard-conforming simple HTML, PostScript
-or PDF designed for human modification. Examples of transparent image
-formats include PNG, XCF and JPG. Opaque formats include proprietary
-formats that can be read and edited only by proprietary word processors,
-SGML or XML for which the DTD and/or processing tools are not generally
-available, and the machine-generated HTML, PostScript or PDF produced by
-some word processors for output purposes only.
-
-The “\textbf{Title Page}” means, for a printed book, the title page itself,
-plus such following pages as are needed to hold, legibly, the material this
-License requires to appear in the title page. For works in formats which
-do not have any title page as such, “Title Page” means the text near the
-most prominent appearance of the work’s title, preceding the beginning of
-the body of the text.
-
-A section “\textbf{Entitled XYZ}” means a named subunit of the Document
-whose title either is precisely XYZ or contains XYZ in parentheses
-following text that translates XYZ in another language. (Here XYZ stands
-for a specific section name mentioned below, such as
-“\textbf{Acknowledgements}”, “\textbf{Dedications}”,
-“\textbf{Endorsements}”, or “\textbf{History}”.) To “\textbf{Preserve the
-Title}” of such a section when you modify the Document means that it
-remains a section “Entitled XYZ” according to this definition.
-
-The Document may include Warranty Disclaimers next to the notice which
-states that this License applies to the Document. These Warranty
-Disclaimers are considered to be included by reference in this
-License, but only as regards disclaiming warranties: any other
-implication that these Warranty Disclaimers may have is void and has
-no effect on the meaning of this License.
-
-\section{Verbatim Copying}
-\label{FDL:sec2}
-
-You may copy and distribute the Document in any medium, either commercially
-or noncommercially, provided that this License, the copyright notices, and
-the license notice saying this License applies to the Document are
-reproduced in all copies, and that you add no other conditions whatsoever
-to those of this License. You may not use technical measures to obstruct
-or control the reading or further copying of the copies you make or
-distribute. However, you may accept compensation in exchange for copies.
-If you distribute a large enough number of copies you must also follow the
-conditions in \autoref{FDL:sec3}.
-
-You may also lend copies, under the same conditions stated above, and
-you may publicly display copies.
-
-\section{Copying in Quantity}
-\label{FDL:sec3}
-
-If you publish printed copies (or copies in media that commonly have
-printed covers) of the Document, numbering more than 100, and the
-Document’s license notice requires Cover Texts, you must enclose the
-copies in covers that carry, clearly and legibly, all these Cover
-Texts: Front-Cover Texts on the front cover, and Back-Cover Texts on
-the back cover. Both covers must also clearly and legibly identify
-you as the publisher of these copies. The front cover must present
-the full title with all words of the title equally prominent and
-visible. You may add other material on the covers in addition.
-Copying with changes limited to the covers, as long as they preserve
-the title of the Document and satisfy these conditions, can be treated
-as verbatim copying in other respects.
-
-If the required texts for either cover are too voluminous to fit
-legibly, you should put the first ones listed (as many as fit
-reasonably) on the actual cover, and continue the rest onto adjacent
-pages.
-
-If you publish or distribute Opaque copies of the Document numbering
-more than 100, you must either include a machine-readable Transparent
-copy along with each Opaque copy, or state in or with each Opaque copy
-a computer-network location from which the general network-using
-public has access to download using public-standard network protocols
-a complete Transparent copy of the Document, free of added material.
-If you use the latter option, you must take reasonably prudent steps,
-when you begin distribution of Opaque copies in quantity, to ensure
-that this Transparent copy will remain thus accessible at the stated
-location until at least one year after the last time you distribute an
-Opaque copy (directly or through your agents or retailers) of that
-edition to the public.
-
-It is requested, but not required, that you contact the authors of the
-Document well before redistributing any large number of copies, to give
-them a chance to provide you with an updated version of the Document.
-
-\section{Modifications}
-\label{FDL:sec4}
-
-You may copy and distribute a Modified Version of the Document under
-the conditions of sections 2 and 3 above, provided that you release
-the Modified Version under precisely this License, with the Modified
-Version filling the role of the Document, thus licensing distribution
-and modification of the Modified Version to whoever possesses a copy
-of it. In addition, you must do these things in the Modified Version:
-
-\begin{itemize}
-
-\item[A.] Use in the Title Page (and on the covers, if any) a title
-distinct from that of the Document, and from those of previous versions
-(which should, if there were any, be listed in the History section of the
-Document). You may use the same title as a previous version if the
-original publisher of that version gives permission.
-
-\item[B.] List on the Title Page, as authors, one or more persons or
-entities responsible for authorship of the modifications in the Modified
-Version, together with at least five of the principal authors of the
-Document (all of its principal authors, if it has fewer than five), unless
-they release you from this requirement.
-
-\item[C.] State on the Title page the name of the publisher of the Modified
-Version, as the publisher.
-
-\item[D.] Preserve all the copyright notices of the Document.
-
-\item[E.] Add an appropriate copyright notice for your modifications
-adjacent to the other copyright notices.
-
-\item[F.] Include, immediately after the copyright notices, a license
-notice giving the public permission to use the Modified Version under the
-terms of this License, in the form shown in the Addendum below.
-
-\item[G.] Preserve in that license notice the full lists of Invariant
-Sections and required Cover Texts given in the Document’s license notice.
-
-\item[H.] Include an unaltered copy of this License.
-
-\item[I.] Preserve the section Entitled “History”, Preserve its Title, and
-add to it an item stating at least the title, year, new authors, and
-publisher of the Modified Version as given on the Title Page. If there is
-no section Entitled “History” in the Document, create one stating the
-title, year, authors, and publisher of the Document as given on its Title
-Page, then add an item describing the Modified Version as stated in the
-previous sentence.
-
-\item[J.] Preserve the network location, if any, given in the Document for
-public access to a Transparent copy of the Document, and likewise the
-network locations given in the Document for previous versions it was based
-on. These may be placed in the “History” section. You may omit a network
-location for a work that was published at least four years before the
-Document itself, or if the original publisher of the version it refers to
-gives permission.
-
-\item[K.] For any section Entitled “Acknowledgements” or “Dedications”,
-Preserve the Title of the section, and preserve in the section all the
-substance and tone of each of the contributor acknowledgements and/or
-dedications given therein.
-
-\item[L.] Preserve all the Invariant Sections of the Document, unaltered in
-their text and in their titles. Section numbers or the equivalent are not
-considered part of the section titles.
-
-\item[M.] Delete any section Entitled “Endorsements”. Such a section may
-not be included in the Modified Version.
-
-\item[N.] Do not retitle any existing section to be Entitled
-“Endorsements” or to conflict in title with any Invariant Section.
-
-\item[O.] Preserve any Warranty Disclaimers.
-
-\end{itemize}
-
-If the Modified Version includes new front-matter sections or appendices
-that qualify as Secondary Sections and contain no material copied from the
-Document, you may at your option designate some or all of these sections as
-invariant. To do this, add their titles to the list of Invariant Sections
-in the Modified Version’s license notice. These titles must be distinct
-from any other section titles.
-
-You may add a section Entitled “Endorsements”, provided it contains
-nothing but endorsements of your Modified Version by various parties~— for
-example, statements of peer review or that the text has been approved by an
-organization as the authoritative definition of a standard.
-
-You may add a passage of up to five words as a Front-Cover Text, and a
-passage of up to 25 words as a Back-Cover Text, to the end of the list of
-Cover Texts in the Modified Version. Only one passage of Front-Cover Text
-and one of Back-Cover Text may be added by (or through arrangements made
-by) any one entity. If the Document already includes a cover text for the
-same cover, previously added by you or by arrangement made by the same
-entity you are acting on behalf of, you may not add another; but you may
-replace the old one, on explicit permission from the previous publisher
-that added the old one.
-
-The author(s) and publisher(s) of the Document do not by this License give
-permission to use their names for publicity for or to assert or imply
-endorsement of any Modified Version.
-
-\section{Combining Documents}
-\label{FDL:sec5}
-
-You may combine the Document with other documents released under this
-License, under the terms defined in \autoref{FDL:sec4} above for modified
-versions, provided that you include in the combination all of the Invariant
-Sections of all of the original documents, unmodified, and list them all as
-Invariant Sections of your combined work in its license notice, and that
-you preserve all their Warranty Disclaimers.
-
-The combined work need only contain one copy of this License, and multiple
-identical Invariant Sections may be replaced with a single copy. If there
-are multiple Invariant Sections with the same name but different contents,
-make the title of each such section unique by adding at the end of it, in
-parentheses, the name of the original author or publisher of that section
-if known, or else a unique number. Make the same adjustment to the section
-titles in the list of Invariant Sections in the license notice of the
-combined work.
-
-In the combination, you must combine any sections Entitled “History” in the
-various original documents, forming one section Entitled “History”;
-likewise combine any sections Entitled “Acknowledgements”, and any sections
-Entitled “Dedications”. You must delete all sections Entitled
-“Endorsements”.
-
-\section{Collection of Documents}
-\label{FDL:sec6}
-
-You may make a collection consisting of the Document and other documents
-released under this License, and replace the individual copies of this
-License in the various documents with a single copy that is included in
-the collection, provided that you follow the rules of this License for
-verbatim copying of each of the documents in all other respects.
-
-You may extract a single document from such a collection, and distribute
-it individually under this License, provided you insert a copy of this
-License into the extracted document, and follow this License in all
-other respects regarding verbatim copying of that document.
-
-\section{Aggregation with Independent Works}
-\label{FDL:sec7}
-
-A compilation of the Document or its derivatives with other separate and
-independent documents or works, in or on a volume of a storage or
-distribution medium, is called an “aggregate” if the copyright resulting
-from the compilation is not used to limit the legal rights of the
-compilation’s users beyond what the individual works permit. When the
-Document is included in an aggregate, this License does not apply to the
-other works in the aggregate which are not themselves derivative works of
-the Document.
-
-If the Cover Text requirement of \autoref{FDL:sec3} is applicable to these
-copies of the Document, then if the Document is less than one half of the
-entire aggregate, the Document’s Cover Texts may be placed on covers that
-bracket the Document within the aggregate, or the electronic equivalent of
-covers if the Document is in electronic form. Otherwise they must appear
-on printed covers that bracket the whole aggregate.
-
-\section{Translation}
-\label{FDL:sec8}
-
-Translation is considered a kind of modification, so you may distribute
-translations of the Document under the terms of \autoref{FDL:sec4}.
-Replacing Invariant Sections with translations requires special permission
-from their copyright holders, but you may include translations of some or
-all Invariant Sections in addition to the original versions of these
-Invariant Sections. You may include a translation of this License, and all
-the license notices in the Document, and any Warranty Disclaimers,
-provided that you also include the original English version of this License
-and the original versions of those notices and disclaimers. In case of a
-disagreement between the translation and the original version of this
-License or a notice or disclaimer, the original version will prevail.
-
-If a section in the Document is Entitled “Acknowledgements”, “Dedications”,
-or “History”, the requirement (\autoref{FDL:sec4}) to Preserve its Title
-(section~1) will typically require changing the actual title.
-
-\section{Termination}
-\label{FDL:sec9}
-
-You may not copy, modify, sublicense, or distribute the Document except
-as expressly provided for under this License. Any other attempt to
-copy, modify, sublicense or distribute the Document is void, and will
-automatically terminate your rights under this License. However,
-parties who have received copies, or rights, from you under this
-License will not have their licenses terminated so long as such
-parties remain in full compliance.
-
-\section{Future Revisions of this License}
-\label{FDL:sec10}
-
-The Free Software Foundation may publish new, revised versions
-of the GNU Free Documentation License from time to time. Such new
-versions will be similar in spirit to the present version, but may
-differ in detail to address new problems or concerns. See
-\href{http://www.gnu.org/copyleft/}{http://www.gnu.org/copyleft/}.
-
-Each version of the License is given a distinguishing version number.
-If the Document specifies that a particular numbered version of this
-License “or any later version” applies to it, you have the option of
-following the terms and conditions either of that specified version or
-of any later version that has been published (not as a draft) by the
-Free Software Foundation. If the Document does not specify a version
-number of this License, you may choose any version ever published (not
-as a draft) by the Free Software Foundation.
-
-\section*{ADDENDUM: How to use this License for your documents}
-\phantomsection
-\addcontentsline{toc}{section}{ADDENDUM: How to use this License for
-your documents}
-
-To use this License in a document you have written, include a copy of
-the License in the document and put the following copyright and
-license notices just after the title page:
-
-\bigskip
-
-\begin{quote}
-Copyright © YEAR YOUR NAME.
-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”.
-\end{quote}
-
-\bigskip
-
-If you have Invariant Sections, Front-Cover Texts and Back-Cover Texts,
-replace the “with \dots\ Texts.” line with this:
-
-\bigskip
-
-\begin{quote}
-with the Invariant Sections being LIST THEIR TITLES, with the
-Front-Cover Texts being LIST, and with the Back-Cover Texts being LIST.
-\end{quote}
-
-\bigskip
-
-If you have Invariant Sections without Cover Texts, or some other
-combination of the three, merge those two alternatives to suit the
-situation.
-
-If your document contains nontrivial examples of program code, we
-recommend releasing these examples in parallel under your choice of
-free software license, such as the GNU General Public License,
-to permit their use in free software.
-
-\end{document}
-