diff options
Diffstat (limited to 'fonts/oldstandard/doc')
18 files changed, 3354 insertions, 229 deletions
diff --git a/fonts/oldstandard/doc/AUTHORS.md b/fonts/oldstandard/doc/AUTHORS.md new file mode 100644 index 0000000000..ff0d8e0154 --- /dev/null +++ b/fonts/oldstandard/doc/AUTHORS.md @@ -0,0 +1,20 @@ +Authors of the `oldstandard` font package +========================================= + +Alexey Kryukov +: Role: original author and designer +: Copyright: 2006--2011 +: email <amkryukov@gmail.com> + +Robert Alessi +: Role: maintainer and contributor +: Copyright: 2019, 2020, 2021, 2022, 2023 +: Personal email: <alessi@robertalessi.net> +: Institutional email: <robert.alessi@cnrs.fr> +: Affiliation: [UMR 8167 Orient & Méditerranée (Paris, France)](https://www.orient-mediterranee.com) +: More information: <http://www.ekdosis.org/about.html> or <https://ctan.org/pkg/ekdosis> + +Antonis Tsolomitis +: Role: maintainer, contributor and designer +: Copyright: 2023 +: email <atsol@aegean.gr> diff --git a/fonts/oldstandard/doc/FONTLOG.txt b/fonts/oldstandard/doc/FONTLOG.txt index 53fd7a5dc5..c3e5cc8934 100644 --- a/fonts/oldstandard/doc/FONTLOG.txt +++ b/fonts/oldstandard/doc/FONTLOG.txt @@ -44,6 +44,14 @@ lettertype of the early 20th century. ChangeLog --------- +2023 December 12 (Robert Alessi, Antonis Tsolomitis) version 2.7 + * Added OldStandard-Math. + + * Added “oldstyle” numerals in regular and bold series. + + * Replaced open theta with closed theta in slot 035B and adjusted + rules ss05 and ss06 accordingly. + 2020 December 18 (Robert Alessi) Version 2.6 * Added 2nd pointer to Alexey Kryukov's archived webpage. diff --git a/fonts/oldstandard/doc/OFL.txt b/fonts/oldstandard/doc/OFL.txt deleted file mode 100644 index db85e267e7..0000000000 --- a/fonts/oldstandard/doc/OFL.txt +++ /dev/null @@ -1,96 +0,0 @@ -Copyright (c) 2006-2011 Alexey Kryukov (<amkryukov@gmail.com>), -without Reserved Font Names. - -Copyright (c) 2019-2020, Robert Alessi (<alessi@robertalessi.net>), -without Reserved Font Names. - -This Font Software is licensed under the SIL Open Font License, -Version 1.1. This license is copied below, and is also available with -a FAQ at: http://scripts.sil.org/OFL - ------------------------------------------------------------ -SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 ------------------------------------------------------------ - -PREAMBLE -The goals of the Open Font License (OFL) are to stimulate worldwide -development of collaborative font projects, to support the font creation -efforts of academic and linguistic communities, and to provide a free and -open framework in which fonts may be shared and improved in partnership -with others. - -The OFL allows the licensed fonts to be used, studied, modified and -redistributed freely as long as they are not sold by themselves. The -fonts, including any derivative works, can be bundled, embedded, -redistributed and/or sold with any software provided that any reserved -names are not used by derivative works. The fonts and derivatives, -however, cannot be released under any other type of license. The -requirement for fonts to remain under this license does not apply -to any document created using the fonts or their derivatives. - -DEFINITIONS -"Font Software" refers to the set of files released by the Copyright -Holder(s) under this license and clearly marked as such. This may -include source files, build scripts and documentation. - -"Reserved Font Name" refers to any names specified as such after the -copyright statement(s). - -"Original Version" refers to the collection of Font Software components as -distributed by the Copyright Holder(s). - -"Modified Version" refers to any derivative made by adding to, deleting, -or substituting -- in part or in whole -- any of the components of the -Original Version, by changing formats or by porting the Font Software to a -new environment. - -"Author" refers to any designer, engineer, programmer, technical -writer or other person who contributed to the Font Software. - -PERMISSION & CONDITIONS -Permission is hereby granted, free of charge, to any person obtaining -a copy of the Font Software, to use, study, copy, merge, embed, modify, -redistribute, and sell modified and unmodified copies of the Font -Software, subject to the following conditions: - -1) Neither the Font Software nor any of its individual components, -in Original or Modified Versions, may be sold by itself. - -2) Original or Modified Versions of the Font Software may be bundled, -redistributed and/or sold with any software, provided that each copy -contains the above copyright notice and this license. These can be -included either as stand-alone text files, human-readable headers or -in the appropriate machine-readable metadata fields within text or -binary files as long as those fields can be easily viewed by the user. - -3) No Modified Version of the Font Software may use the Reserved Font -Name(s) unless explicit written permission is granted by the corresponding -Copyright Holder. This restriction only applies to the primary font name as -presented to the users. - -4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font -Software shall not be used to promote, endorse or advertise any -Modified Version, except to acknowledge the contribution(s) of the -Copyright Holder(s) and the Author(s) or with their explicit written -permission. - -5) The Font Software, modified or unmodified, in part or in whole, -must be distributed entirely under this license, and must not be -distributed under any other license. The requirement for fonts to -remain under this license does not apply to any document created -using the Font Software. - -TERMINATION -This license becomes null and void if any of the above conditions are -not met. - -DISCLAIMER -THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, -EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF -MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT -OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE -COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, -INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL -DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING -FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM -OTHER DEALINGS IN THE FONT SOFTWARE. diff --git a/fonts/oldstandard/doc/OldStandard-Math.pdf b/fonts/oldstandard/doc/OldStandard-Math.pdf Binary files differnew file mode 100644 index 0000000000..719c8949cd --- /dev/null +++ b/fonts/oldstandard/doc/OldStandard-Math.pdf diff --git a/fonts/oldstandard/doc/OldStandard-Regular.pdf b/fonts/oldstandard/doc/OldStandard-Regular.pdf Binary files differnew file mode 100644 index 0000000000..e83250c776 --- /dev/null +++ b/fonts/oldstandard/doc/OldStandard-Regular.pdf diff --git a/fonts/oldstandard/doc/OldStandard.fontspec b/fonts/oldstandard/doc/OldStandard.fontspec deleted file mode 100644 index 95ae5d4ddb..0000000000 --- a/fonts/oldstandard/doc/OldStandard.fontspec +++ /dev/null @@ -1,13 +0,0 @@ -\defaultfontfeatures[Old Standard] - { - Extension = .otf, - UprightFont = OldStandard-Regular, - ItalicFont = OldStandard-Italic, - BoldFont = OldStandard-Bold, - BoldItalicFont = OldStandard-BoldItalic, - SlantedFont = OldStandard-Regular, - SlantedFeatures = {FakeSlant=0.25}, - BoldSlantedFont = OldStandard-Bold, - BoldSlantedFeatures = {FakeSlant=0.25} - } - diff --git a/fonts/oldstandard/doc/README.md b/fonts/oldstandard/doc/README.md index 436ce26b08..ca25f32177 100644 --- a/fonts/oldstandard/doc/README.md +++ b/fonts/oldstandard/doc/README.md @@ -3,25 +3,34 @@ Old Standard License ------- +### Old Standard Copyright (c) 2006-2011 Alexey Kryukov (<amkryukov@gmail.com>), without Reserved Font Names. -Copyright (c) 2019-2020, Robert Alessi (<alessi@robertalessi.net>), -without Reserved Font Names. - -Please send error reports and suggestions for improvements to Robert -Alessi: - - * email: <alessi@roberalessi.net> - * website: <http://git.robertalessi.net/oldstandard/about> - * development: <http://git.robertalessi.net/oldstandard> - * comments, feature requests, bug reports: <https://gitlab.com/ralessi/oldstandard/issues> +Copyright (c) 2019, 2020, 2021, 2022, 2023 Robert Alessi +(<alessi@robertalessi.net>), without Reserved Font Names. +Copyright (c) 2023 Antonis Tsolomitis (<atsol@aegean.gr>), without +Reserved Font Names. This Font Software is licensed under the SIL Open Font License, Version 1.1. This license is available with a FAQ at: <http://scripts.sil.org/OFL> +### Old Standard Math +Copyright (c) 2019-2023 Antonis Tsolomitis (<atsol@aegean.gr>). +This work is released under the GUST Font License -- see +<http://tug.org/fonts/licenses/GUST-FONT-LICENSE.txt> for details. + +Please send error reports and suggestions for improvements to Robert +Alessi or Antonis Tsolomitis: + + * email: <alessi@roberalessi.net> / <atsol@aegean.gr> + * website: <https://sr.ht/~ralessi/oldstandard/> + * development: <https://git.sr.ht/~ralessi/oldstandard> + * comments, feature requests, bug reports: <https://todo.sr.ht/~ralessi/oldstandard> + + History ------- This font is just the same as Alexey Kryukov's beautiful *Old @@ -34,11 +43,9 @@ Standard*, it includes new letters and some corrections: century ago in fine books which used font faces very similar to *Old Standard*. Typical use cases of small capitals were headers, current headings and in some books proper names. -2. *For the time being*, a bold italic shape has been - auto-generated. Of course, auto-generating shapes is not a - satisfactory solution. However, it is better than using the font - loader to emulate bold shapes. A real bold italic shape is planned - in the versions of *Old Standard* to come. +2. A bold italic shape was first auto-generated in 2019. Of course, + auto-generating shapes was not a satisfactory solution. Since then, + the characters have been reworked manually. 3. The letter G with caron above, that is: Ǧ (`U+01E6`, uppercase) and ǧ (`U+01E7`, lowercase) has been added. It is the only character missing from *Old Standard* that is needed in some of the accepted @@ -50,6 +57,22 @@ Standard*, it includes new letters and some corrections: with the previous release of *Old Standard*. However, it failed if the beta is preceded by a vowel with an acute accent taken from the *Greek extended* Unicode block. +5. Open theta has been replaced with closed theta in slot 03B8 and + rules ss05 and ss06 have been adjusted accordingly. +6. **Oldstyle numerals**: These have been designed by Antonis + Tsolomitis for regular and bold series and can be selected by + `RawFeature=onum`. (Those for italic and bolditalic have been + designed by R. Alessi.) +7. **Math Font**: This is a major and long-awaited enhancement + to Old Standard. The math font has been designed by Antonis + Tsolomitis from an old French book published by Gauthier-Villars + that used a font similar to Old Standard for Greek and a Bodoni font + for Latin. As both Bodoni and Old Standard were “romantic” + faces, it is hoped that they match up nicely, even if this remains + to be proven...<br/> + Two integrals are provided: a romantic one, which is selected by + default, and an upright version, which can be selected with + `StylisticSet=2`. ### Why a new release of *Old Standard*? At the time of writing, *Old Standard* was last updated six years diff --git a/fonts/oldstandard/doc/fonttable.lua b/fonts/oldstandard/doc/fonttable.lua deleted file mode 100644 index d50a314680..0000000000 --- a/fonts/oldstandard/doc/fonttable.lua +++ /dev/null @@ -1,36 +0,0 @@ --- the following is adapted from https://tex.stackexchange.com/a/380780 -ft = {} -function ft.print_glyphs(maxCols,maxChars) - local id = font.current() - local fnt = font.getfont(id) - local col = 1 - local maxU4 = 15*(16^3+16^2+16+1) - a = {} - for k, v in pairs(fnt.characters) do - a [#a + 1] = k - end - table.sort(a) - for i, k in ipairs(a) do - if i >= maxChars then break end - if col == 1 then - if k > maxU4 then - tex.sprint(string.format("U+%06x", k)) - else - tex.sprint(string.format("U+%04x", k)) - end - tex.sprint("&") - end - if (i) then - tex.sprint(string.format([[\char%i]], k)) - else - tex.sprint("~") - end - if col == maxCols then - tex.sprint([[\\\cline{2-]] .. maxCols+1 .. "} ") - col = 1 - else - tex.sprint("&") - col = col + 1 - end - end -end diff --git a/fonts/oldstandard/doc/fonttable.pdf b/fonts/oldstandard/doc/fonttable.pdf Binary files differdeleted file mode 100644 index 76daaf8834..0000000000 --- a/fonts/oldstandard/doc/fonttable.pdf +++ /dev/null diff --git a/fonts/oldstandard/doc/fonttable.tex b/fonts/oldstandard/doc/fonttable.tex deleted file mode 100644 index 5e90225f7b..0000000000 --- a/fonts/oldstandard/doc/fonttable.tex +++ /dev/null @@ -1,33 +0,0 @@ -% arara: lualatex -% arara: lualatex -% arara: lualatex -\documentclass[12pt]{article} -\usepackage{fontspec} - -\usepackage{array} -\usepackage{longtable} -\usepackage{latexcolors} - -\usepackage{luacode} -\luadirect{require("fonttable.lua")} - -\setmainfont{Old Standard} - -\title{\textsc{Old Standard}} -\author{Font Table} -\date{} - -\begin{document} -\maketitle - -\color{cinnamon} - -\begin{longtable}{>{\color{gray}\ttfamily\footnotesize}r| - *{10}{>{\color{black}}p{1.5em}|}} -\cline{2-11} -\endhead - -\luadirect{ft.print_glyphs(10,65463)} \\ \cline{2-11} -\end{longtable} - -\end{document}
\ No newline at end of file diff --git a/fonts/oldstandard/doc/oldstand-manual.pdf b/fonts/oldstandard/doc/oldstand-manual.pdf Binary files differnew file mode 100644 index 0000000000..47a7794775 --- /dev/null +++ b/fonts/oldstandard/doc/oldstand-manual.pdf diff --git a/fonts/oldstandard/doc/oldstand-manual.tex b/fonts/oldstandard/doc/oldstand-manual.tex new file mode 100644 index 0000000000..b9d9e05953 --- /dev/null +++ b/fonts/oldstandard/doc/oldstand-manual.tex @@ -0,0 +1,3064 @@ +\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} + diff --git a/fonts/oldstandard/doc/oldstandard-mathtest.pdf b/fonts/oldstandard/doc/oldstandard-mathtest.pdf Binary files differnew file mode 100644 index 0000000000..c824df0b68 --- /dev/null +++ b/fonts/oldstandard/doc/oldstandard-mathtest.pdf diff --git a/fonts/oldstandard/doc/oldstandard-mathtest.tex b/fonts/oldstandard/doc/oldstandard-mathtest.tex new file mode 100644 index 0000000000..1ddd16fda4 --- /dev/null +++ b/fonts/oldstandard/doc/oldstandard-mathtest.tex @@ -0,0 +1,113 @@ +\documentclass{article} +\usepackage{geometry} +\parindent=0pt +\pagestyle{empty} + +\usepackage{fontspec} +\usepackage{OldStandard} + +\usepackage{unicode-math} +\setmathfont{OldStandard-Math.otf} + + +\begin{document} + +\begin{center} + \scshape\Large Sebastian's math test\\ +\end{center} +The default math mode font is $Math\ Italic$. This should not be +confused with ordinary \emph{Text Italic} -- notice the different spacing\,! +\verb|\mathbf| produces bold roman letters: $ \mathbf{abcABC} $. +If you wish to embolden complete formulas, +use the \verb|\boldmath| command \emph{before} going into math mode. +This changes the default math fonts to bold. + +\begin{tabular}{ll} +\texttt{normal} & $ x = 2\pi \Rightarrow x \simeq 6.28 $\\ +\texttt{mathbf} & $\mathbf{x} = 2\pi \Rightarrow \mathbf{x} \simeq 6.28 $\\ +\texttt{boldmath} & {\boldmath $x = \mathbf{2}\pi \Rightarrow x + \simeq{\mathbf{6.28}} $}\\ +\end{tabular} +\smallskip + +Greek is available in upper and lower case: +$\alpha,\beta \dots \Omega$, and there are special +symbols such as $ \hbar$. +The following letters should be upright: $\upGamma, \upDelta\dots \upOmega$. +Digits in formulas $1, 2, 3\dots$ may differ from those in text: 4, 5, 6\dots + +There is a calligraphic alphabet \verb|\mathcal| for upper case letters +$ \mathcal{ABCDE}\dots $, and there are letters for number sets: $\mathbb{A\dots Z} $, +which are produced using \verb|\mathbb|. + +\begin{equation} + \sigma(t)=\frac{1}{\sqrt{2\pi}} + \int^t_0 e^{-x^2/2} dx +\end{equation} + +\begin{equation} + \prod_{j\geq 0} + \left(\sum_{k\geq 0}a_{jk} z^k\right) += \sum_{k\geq 0} z^n + \left( \sum_{{k_0,k_1,\ldots\geq 0} + \atop{k_0+k_1+\ldots=n} } + a{_0k_0}a_{1k_1}\ldots \right) +\end{equation} + +\begin{equation} +\pi(n) = \sum_{m=2}^{n} + \left\lfloor \left(\sum_{k=1}^{m-1} + \lfloor(m/k)/\lceil m/k\rceil + \rfloor \right)^{-1} + \right\rfloor +\end{equation} + +\begin{equation} +\{\underbrace{% + \overbrace{\mathstrut a,\ldots,a}^{k\ a's}, + \overbrace{\mathstrut b,\ldots,b}^{l\ b's}} + _{k+l\ \mathrm{elements}} \} +\end{equation} + +\[ +\mbox{W}^+\ +\begin{array}{l} +\nearrow\raise5pt\hbox{$\mu^+ + \nu_{\mu}$}\\ +\rightarrow \pi^+ +\pi^0 \\[5pt] +\rightarrow \kappa^+ +\pi^0 \\ +\searrow\lower5pt\hbox{$\mathrm{e}^+ + +\nu_{\scriptstyle\mathrm{e}}$} +\end{array} +\] + +\[ +\frac{\pm +\left|\begin{array}{ccc} +x_1-x_2 & y_1-y_2 & z_1-z_2 \\ +l_1 & m_1 & n_1 \\ +l_2 & m_2 & n_2 +\end{array}\right|}{ +\sqrt{\left|\begin{array}{cc}l_1&m_1\\ +l_2&m_2\end{array}\right|^2 ++ \left|\begin{array}{cc}m_1&n_1\\ +n_1&l_1\end{array}\right|^2 ++ \left|\begin{array}{cc}m_2&n_2\\ +n_2&l_2\end{array}\right|^2}} +\] + +Mathematical accents: +\[ +\mbox{ acute=} \acute{a} +\mbox{ grave=}\grave{a} +\mbox{ ddot=}\ddot {a} +\mbox{ tilde=}\tilde{a} +\mbox{ bar=}\bar {a} +\mbox{ breve=}\breve{a} +\mbox{ check=}\check{a} +\mbox{ hat=}\hat {a} +\mbox{ vec=}\vec {a} +\mbox{ dot=}\dot {a} +\] + + +\end{document} diff --git a/fonts/oldstandard/doc/oldstandard-samples.pdf b/fonts/oldstandard/doc/oldstandard-samples.pdf Binary files differindex 918196ba17..18d1cc4dae 100644 --- a/fonts/oldstandard/doc/oldstandard-samples.pdf +++ b/fonts/oldstandard/doc/oldstandard-samples.pdf diff --git a/fonts/oldstandard/doc/oldstandard-samples.tex b/fonts/oldstandard/doc/oldstandard-samples.tex index 73caac482a..ff43fc4d2a 100644 --- a/fonts/oldstandard/doc/oldstandard-samples.tex +++ b/fonts/oldstandard/doc/oldstandard-samples.tex @@ -1,5 +1,5 @@ \documentclass{article} -\usepackage[LGR,T2A,LY1]{fontenc} +\usepackage[LGR,T2A,T1]{fontenc} \usepackage[scale=1.0]{OldStandard} \usepackage{lipsum} \begin{document} @@ -27,12 +27,33 @@ \textbf{\textit{\lipsum[4]}} -\section*{Numbers} +\section*{Default Numbers} -0123456789 +1234567890 -\noindent -X\textsu{0123456789} +\section*{Oldstyle Numbers} + +\oldstylenums{1234567890} + +\section*{Lining Numbers} + +\liningnums{1234567890} + +\section*{Tabular Numbers} + +\tabularnums{1234567890} + +\section*{Proportional Numbers} + +\proportionalnums{1234567890} + +\section*{Superior Numbers} + +X\textsu{1234567890} + +\section*{Inferior Numbers} + +X\textinf{1234567890} \section*{LGR} diff --git a/fonts/oldstandard/doc/oldstandard.pdf b/fonts/oldstandard/doc/oldstandard.pdf Binary files differindex c2d3a3accc..fe75cb806e 100644 --- a/fonts/oldstandard/doc/oldstandard.pdf +++ b/fonts/oldstandard/doc/oldstandard.pdf diff --git a/fonts/oldstandard/doc/oldstandard.tex b/fonts/oldstandard/doc/oldstandard.tex index 6334d20861..3b994a4113 100644 --- a/fonts/oldstandard/doc/oldstandard.tex +++ b/fonts/oldstandard/doc/oldstandard.tex @@ -31,14 +31,15 @@ \end{filecontents*} \documentclass[letterpaper]{article} \usepackage{fontspec} +\usepackage{microtype} +\usepackage[default]{fontsetup} \usepackage[greek.ancient,english]{babel} \babeltags{grc = greek} -\babelfont{rm}{Old Standard} -\babelfont[greek]{rm}[RawFeature={+ss05;+ss06}]{Old Standard} -\babelfont{sf}{NewComputerModern Sans} -\babelfont{tt}{NewComputerModern Mono} +\babelfont{rm}[RawFeature=onum]{Old Standard} +\babelfont[greek]{rm}[RawFeature={onum;ss06}]{Old Standard} +\usepackage[parfill]{parskip} \newlength\defaultparindent \setlength\defaultparindent{\parindent} \usepackage{dtxdescribe} @@ -55,6 +56,7 @@ \hypersetup{unicode=true, linktocpage=true, colorlinks, allcolors=cinnamon, pdfauthor={Robert Alessi}, pdftitle={Old Standard}} +\usepackage{xurl} \usepackage{uri} \usepackage{enumitem} @@ -86,8 +88,8 @@ \usepackage[toc]{multitoc} -\edef\pkgver{2.6} -\edef\pkgdate{2020/12/18} +\edef\pkgver{2.7} +\edef\pkgdate{2023/12/15} \title{\mdseries\tcbox[colframe=black, enhanced, tikznode, drop lifted shadow, colback=white, boxrule=.25mm]% {\textsc{Old Standard}\\ @@ -96,9 +98,19 @@ \large Based on Alexey Kryukov's original \emph{Old Standard}\\ \large v\pkgver -- \pkgdate}} -\author{Robert Alessi \\ -\href{mailto:alessi@robertalessi.net?Subject=OldStandard package}% -{\texttt{alessi@robertalessi.net}}} +% \author{Robert Alessi \and Antonis Tsolomitis\\ +% \href{mailto:alessi@robertalessi.net?Subject=OldStandard package}% +% {\texttt{alessi@robertalessi.net}}} +\author{ + \begin{tabular}{cc} + Robert Alessi & Antonis Tsolomitis\\ + \href{mailto:alessi@robertalessi.net?Subject=OldStandard package}% + {\texttt{alessi@robertalessi.net}} + & + \href{mailto:atsol@aegean.gr?Subject=OldStandard package}% + {\texttt{atsol@aegean.gr}} + \end{tabular} +} \date{} \begin{document} @@ -115,28 +127,46 @@ \section{License} \label{sec:license} +\subsection{Old Standard} +\label{sec:old-standard} + Copyright \textcopyright\ 2006--2011, Alexey Kryukov (\href{mailto:amkryukov@gmail.com}{amkryukov@gmail.com}), without Reserved Font Names. \\ -Copyright \textcopyright\ 2019--2020, Robert Alessi +Copyright \textcopyright\ 2019--2023, Robert Alessi (\href{mailto:alessi@robertalessi.net}{alessi@robertalessi.net}), without Reserved Font Names. +\\ +Copyright \textcopyright\ 2019--2023, Antonis Tsolomitis +(\href{mailto:atsol@aegean.gr}{atsol@aegean.gr}), without +Reserved Font Names. + +This Font Software is licensed under the SIL Open Font License, +Version 1.1. This license is available with a FAQ at: +\url{http://scripts.sil.org/OFL} + +\subsection{Old Standard Math} +\label{sec:old-standard-math} +Copyright \textcopyright\ 2019--2023, Antonis Tsolomitis +(\href{mailto:atsol@aegean.gr}{atsol@aegean.gr}). +This work is released under the GUST Font License -- see +\url{http://tug.org/fonts/licenses/GUST-FONT-LICENSE.txt} for details. +\paragraph{Support} Please send error reports and suggestions for improvements to Robert -Alessi: +Alessi or Antonis Tsolomitis: \begin{itemize} -\item email: \mailto[oldstandard package]{alessi@roberalessi.net} -\item website: \url{http://git.robertalessi.net/oldstandard/about} -\item development: \url{http://git.robertalessi.net/oldstandard} +\item email: \mailto[oldstandard package]{alessi@roberalessi.net} or + \mailto[oldstandard package]{atsol.aegean.gr} +\item website: \url{http://git.robertalessi.net/oldstandard/about}\\ + or \url{https://sr.ht/~ralessi/oldstandard/} +\item development: \url{http://git.robertalessi.net/oldstandard}\\ + or \url{https://sr.ht/~ralessi/oldstandard/sources} \item comments, feature requests, bug reports: -\url{https://gitlab.com/ralessi/oldstandard/issues} +\url{https://sr.ht/~ralessi/oldstandard/trackers} \end{itemize} -This Font Software is licensed under the SIL Open Font License, -Version 1.1. This license is available with a FAQ at: -\url{http://scripts.sil.org/OFL} - \section{Documentation} \label{sec:documentation} No documentation is associated with this release of \emph{Old @@ -181,10 +211,12 @@ addressed, took the decision to make a new release \emph{Old resume the development of this typeface. \paragraph{Important disclaimer} -The writer is very far from being able to design glyphs \emph{ex - nihilo}. That aside, he has some limited knowledge in the use of -FontForge, and, as a classicist, he is able to scrutinize how features -operate and if they operate as expected. +Back in 2019, he writer was far from being able to design glyphs +\emph{ex nihilo}. That aside, he had some limited knowledge in the use +of FontForge, and, as a classicist, was able to scrutinize how +features operate and if they operate as expected. Since then, some +progress has been made in the art of drawing characters, which has led +to the revision and correction of a number of glyphs. \section{Additions and corrections provided} \label{sec:addit-corr-prov} @@ -197,11 +229,9 @@ corrections: in use a century ago in fine books which used font faces very similar to \emph{Old Standard}. Typical use cases of small capitals were headers, current headings and in some books proper names. -\item \emph{For the time being}, a bold italic shape has been - auto-generated. Of course, auto-generating shapes is not a - satisfactory solution. However, it is better than using the - font loader to emulate bold shapes. A real bold italic shape is - planned in the versions of \emph{Old Standard} to come. +\item A bold italic shape was first auto-generated in 2019. Of course, + auto-generating shapes was not a satisfactory solution. Since then, + the characters have been reworked manually. \item The letter G with caron above, that is: Ǧ (\verb|U+01E6|, uppercase) and ǧ (\verb|U+01E7|, lowercase) has been added. It is the only character missing from \emph{Old Standard} that is needed @@ -216,6 +246,32 @@ corrections: cases with the previous releases. However, it failed if the beta was preceded by a vowel with an acute accent taken from the Greek extended Unicode block. +\item Open theta has been replaced with closed theta in slot 03B8 and + rules ss05 and ss06 have been adjusted accordingly, like so:--- + \begin{enumerate} + \item \texttt{Default}: {\addfontfeatures{RawFeature={-ss05;-ss06}}% + θαυμασθεὶς ὁ βάρβαρος.} + \item \texttt{ss05}: {\addfontfeatures{RawFeature={+ss05;-ss06}}% + θαυμασθεὶς ὁ βάρβαρος.} + \item \texttt{ss06}: {\addfontfeatures{RawFeature={-ss05;+ss06}}% + θαυμασθεὶς ὁ βάρβαρος.} + \item \texttt{ss05} and \texttt{ss06}: + {\addfontfeatures{RawFeature={+ss05;+ss06}}% + θαυμασθεὶς ὁ βάρβαρος.} + \end{enumerate} +\item \textbf{Oldstyle numerals}: These have been designed by Antonis + Tsolomitis for regular and bold and by Robert Alessi for italic and + bolditalic. They can be selected by \verb|RawFeature=onum|. +\item \textbf{Math Font}: This is a major and long-awaited enhancement + to Old Standard. The math font has been designed by Antonis + Tsolomitis from an old French book published by Gauthier-Villars + that used a font similar to Old Standard for Greek and a Bodoni font + for Latin. As both Bodoni and Old Standard were \enquote{romantic} + faces, it is hoped that they match up nicely, even if this remains + to be proven\dots\\ + Two integrals are provided: a romantic one, which is selected by + default, and an upright version, which can be selected with + \verb|StylisticSet=2|. \end{enumerate} \section{Usage} @@ -349,14 +405,12 @@ information, the reader should refer to][10,24]{babel} As an example, here is how \emph{Old Standard} has been loaded in the preamble of this document to be compiled with \LuaLaTeX:--- \begin{code} - \usepackage[no-math]{fontspec} \usepackage{fontspec} \usepackage[greek.ancient,english]{babel} \babeltags{grc = greek} \babelfont{rm}{Old Standard} - - \babelfont[greek]{rm}[RawFeature={+ss05;+ss06}]{Old Standard} + \babelfont[greek]{rm}[RawFeature=ss05]{Old Standard} \end{code} Then, once \emph{Old Standard} has been loaded with \cs{babelfont} |