diff options
| author | Karl Berry <karl@freefriends.org> | 2010-07-09 23:31:35 +0000 |
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| committer | Karl Berry <karl@freefriends.org> | 2010-07-09 23:31:35 +0000 |
| commit | 08f969358f3f17343977b49d670e45aa7d82dc24 (patch) | |
| tree | 3ef6dec2c12166249cfa318e90ba12b9970b091c /Master/texmf-dist/doc/fonts/oldstandard | |
| parent | 2fa05645577bafd0f8aa732f41c1b4c99d38ea59 (diff) | |
new font package oldstandard (8jul10)
git-svn-id: svn://tug.org/texlive/trunk@19314 c570f23f-e606-0410-a88d-b1316a301751
Diffstat (limited to 'Master/texmf-dist/doc/fonts/oldstandard')
19 files changed, 3088 insertions, 0 deletions
diff --git a/Master/texmf-dist/doc/fonts/oldstandard/FONTLOG.txt b/Master/texmf-dist/doc/fonts/oldstandard/FONTLOG.txt new file mode 100644 index 00000000000..431cd956aba --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/FONTLOG.txt @@ -0,0 +1,247 @@ +FONTLOG +Old Standard font family +======================== + +This file provides detailed information on the Old Standard family of +fonts. This information should be distributed along with the Old Standard +fonts and any derivative works. + +Basic Font Information +---------------------- + +The Old Standard font family is an attempt to revive a specific type of +Modern (classicist) style of serif typefaces, very commonly used in various +editions printed in the late 19th and early 20th century, but almost +completely abandoned later. Although contemporary typographers often +consider this lettertype obsolete and out-of-fashion, it still has at least +two advantages: + +-- The classicist style still can be considered a good choice for +typesetting scientific papers, especially on social and humanitarian +sciences, as its specific features are closely associated in the people's +eyes with old books they learned on; + +-- the most beautiful examples of Greek and Cyrillic lettertypes were all +based on the Modern style, so that for those scripts "Modern" fonts +are much more appropriate than any contemporary (e. g. Times-based) +designs. + +That's why the Old Standard font family has two main purposes: it is +intended to be used as a specialized font for philologists (mainly +classicists, germanists and slavists) and also as a general-purpose font +for typesetting various editions in languages which use Greek or Cyrillic +script. For this reason Old Standard provides glyphs for a wide range of +Latin, Greek and Cyrillic characters. + +The name "Old Standard" was selected as opposed to the "Obyknovennaya +Novaya" ("New Standard") typeface, widely used in the Soviet typography, +which represents another, slightly different type of the same Modern style. +The digital version of this font is now available from Paratype +(http://www.paratype.ru). Of course this name doesn't look very original, +but it seems to be a good choice for a revival of the most common +lettertype of the early 20th century. + +ChangeLog +--------- + +2008 November 24 (Alexey Kryukov) Version 2.0.2 + + * My TTF files somehow got autoinstructed with wrong settings. This + resulted into inconsistent bearings under certain PPEM's. + +2008 November 23 (Alexey Kryukov) Version 2.0.1 + + * Oops. GPOS kerning was broken in 2.0. + + * If the same set of rules is shared by several features, then + use just one lookup registered for more than one feature to store them. + +2008 November 18 (Alexey Kryukov) Version 2.0 + + + A bold version is now available! + + + Added a full set of historical Cyrillic characters, as defined + in Unicode 5.1; + + + Implemented Roman numerals and ancient Roman epigraphic letters + (including Claudian letters). + + * Switched to lookup-based representation of the OpenType data + in the source files to conform the new FontForge's file format; + + * Now both cubic and quadratic versions of the font outlines are stored + in the same source files (one file for each style), as FontForge's + new approach to multilayered fonts allows this; + + * Switched to OFL version 1.1; + + * FontForge now can generate reasonably good TTF instructions (it + could not when OldStandard v. 1.0 was released). So the TTF fonts + are now automatically instructed with FontForge. I still include + the old instructions for the regular version (prepared with + Peter Baker's xgridfit utility) into the source package, but they + are no longer used in the font itself. This certainly makes some + glyphs look worse, but improves the overall performance of the font + (especially in the antialiased mode); + + * Danish Aringacute redesigned (now has the acute at the top of the ring + and a specially designed, reduced in size, diacritic for the capital + glyph); + + * Redesigned cedilla and all combinations with this accent in the upright + font; + + * More contour cleanup; + + * Added accented combinations with "W" for Welsh; + + * Added several new math characters to the regular font. The intent was + to fully cover the TeX OMS encoding, but this task is still far from + being reached; + + * There is now a dedicated Unicode codepoint for capital insular "G" + (U+A77D), so move the corresponding glyph to that location; + + * Corrected the shape of Greek symbol phi (U+03D5). It is still not + recommended to use this glyph instead of the normal (looped) form; + + * Several new characters have been added, including the Latin letter EZH + (U+01B7/U+0292) and capital Es Zett for German (U+1E9E). There are + some new combining marks as well; + + * I used to consider the breve accent should always take the typically + Cyrillic form when used after Cyrillic letters. However this assumption + seems to be wrong: the specific form of the diacritic is actually + an attribute of just three letters, i. e. "short i" (Russian etc.), + "Short u" (Byelorussian) and "zhe with breve" (Moldavian). + +2007 July 14 (Alexey Kryukov) Version 1.1 (not released) + + * Added Latin letters OPEN E and OPEN O, requested by an African user; + + * New glyph for ampersand in the upright font; + + * Redesigned Polish ogonek and Czech comma-like caron; + + * More work on italic Greek letters; + + * General contour cleanup for some glyphs. + +2007 January 22 (Alexey Kryukov) Version 1.0 + + * Added the WHITE SQUARE (U+25A1) character; + + * Minor corrections in the fonts themselves and in the PDF manual. + +2006 December 12 (Alexey Kryukov) Version 0.9 + + * Added a few more Latin Extended-B characters, yogh and wynn in + particular (thanks to Peter Baker for the valuable information on the + design of the letter yogh he provided). I also have implemented + uppercase and lowercase versions of the insular "g". Thus Old + Standard is now suitable for typesetting texts in Old and Middle + English. + + * Added Hebrew aleph and a few Fraktur characters, useful for critical + apparatus, especially in Bible/New Testament editions. + + * Implemented a full set of standard f-ligatures, present in most + OpenType fonts. + + * Andrew Panov has convinced me to implement a set of mathematical + glyphs, designed in the style of traditional Russian math + typesetting. These glyphs are currently available only in the regular + version of the font. + + * A PDF manual, explaining various features of the font, is now + available. + + * Greek sampi (both uppercase and lowercase) has been redesigned. + + * Implemented Greek lunate epsilon and reversed lunate epsilon (the + design doesn't match the remaining Greek letters though). Thus all + Unicode slots intended for "alternate" and mathematical Greek glyphs + are now covered. + + * A few improvements in the TTF instructions for the regular font + (drop-out control has been enabled). + + * Several minor corrections in the OpenType layouts. + +2006 October 01 (Alexey Kryukov) Version 0.8 + + * Implemented a set of TrueType instructions (hints) for the regular + font (italics are still unhinted). I would like to thank Peter Baker + for his excellent (and extremely well documented) xgridfit program + (http://xgridfit.sourceforge.net), which provides a good Open Source + solution for gridfitting, or "hinting," TrueType fonts. + + * The TrueType version of the regular font now has a separate source + file (OldStandard.ttf.sfd) with quadratic splines. + + * Changed the naming convention for the TrueType version: the font name + now has a "TT" suffix, so that both TTF and OTF versions can be + installed on the same system simultaneously. + + * Added a few Latin Extended-B characters, useful mainly for + germanists, in particular "b" with bar, "o" with ogonek and hwair. + Also I have corrected shapes of lowercase eth and thorn. Thus Old + Standard now includes all characters necessary for representing Old + Icelandic texts and Gothic transliteration. Still more characters + (the most important of them being uppercase and lowercase yogh) are + needed for a proper support of Old/Middle English. + + * As usual, a few minor bugs have been corrected. + +2006 June 09 (Alexey Kryukov) Version 0.7 + + * Added OpenType layouts for Latin, Greek and Cyrillic. Special + attention has been paid to correct shaping and positioning of + diacritical marks. + + * Minor corrections of glyph shapes. + +2006 May 08 (Alexey Kryukov) Version 0.6 + + * Licensing changed to the SIL Open Font License. + + * Added Greek glyphs, including those in the U+1F00--U+1FFF "Greek + Extended" Unicode range. + + * Ukrainian and Serbian Cyrillic glyphs were redesigned in order to + bring them into a better correspondance with real examples of + the early 20th century printing. + + * The standard mathematical operation signs were redesigned and + significantly enlarged, so that now their implementation contradicts + to the contemporary standards, but better corresponds to the European + tradition of math typesetting. + + * Several additional math characters, needed to provide a full coverage + for the Mac Roman encoding, have been added. + + * Ancient Greek metrical characters (U+23D1--U+23D9) have been + implemented. + + * A TTF version is released in addition to OpenType-CFF fonts. It has + no hinting at all, so don't complain for bad screen rendering! + +2006 Feb 14 (Alexey Kryukov) Version 0.2 + + * First public release. + +Acknowledgements +---------------- +(Here is where contributors can be acknowledged. If you make modifications +be sure to add your name (N), email (E), web-address (W) and description +(D). This list is sorted by last name in alphabetical order.) + +N: Alexey Kryukov +E: alexios@thessalonica.org.ru +W: http://www.thessalonica.org.ru +D: Original Designer of Latin, Greek and Cyrillic glyphs + +For more information please visit the Fonts page on Thessalonica's +website: http://www.thessalonica.org.ru/en/fonts.html. + +Or send an email to <alexios at thessalonica dot org dot ru>. diff --git a/Master/texmf-dist/doc/fonts/oldstandard/OFL-FAQ.txt b/Master/texmf-dist/doc/fonts/oldstandard/OFL-FAQ.txt new file mode 100644 index 00000000000..e744366483a --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/OFL-FAQ.txt @@ -0,0 +1,225 @@ +OFL FAQ - Frequently Asked Questions about the SIL Open Font License (OFL) +Version 1.1 - 26 February 2007 +(See http://scripts.sil.org/OFL for updates) + + +1 ABOUT USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL + +1.1 Can I use the fonts in any publication, even embedded in the file? +Yes. You may use them like most other fonts, but unlike some fonts you may include an embedded subset of the fonts in your document. Such use does not require you to include this license or other files (listed in OFL condition 2), nor does it require any type of acknowledgement within the publication. Some mention of the font name within the publication information (such as in a colophon) is usually appreciated. If you wish to include the complete font as a separate file, you should distribute the full font package, including all existing acknowledgements, and comply with the OFL conditions. Of course, referencing or embedding an OFL font in any document does not change the license of the document itself. The requirement for fonts to remain under the OFL does not apply to any document created using the fonts and their derivatives. Similarly, creating any kind of graphic using a font under OFL does not make the resulting artwork subject to the OFL. + +1.2 Can I make web pages using these fonts? +Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended. + +1.3 Can I make the fonts available to others from my web site? +Yes, as long as you meet the conditions of the license (do not sell by itself, include the necessary files, rename Modified Versions, do not abuse the Author(s)' name(s) and do not sublicense). + +1.4 Can the fonts be included with Free/Libre and Open Source Software collections such as GNU/Linux and BSD distributions? +Yes! Fonts licensed under the OFL can be freely aggregated with software under FLOSS (Free/Libre and Open Source Software) licenses. Since fonts are much more useful aggregated to than merged with existing software, possible incompatibility with existing software licenses is not a problem. You can also repackage the fonts and the accompanying components in a .rpm or .deb package and include them in distro CD/DVDs and online repositories. + +1.5 I want to distribute the fonts with my program. Does this mean my program also has to be free and open source software? +No. Only the portions based on the font software are required to be released under the OFL. The intent of the license is to allow aggregation or bundling with software under restricted licensing as well. + +1.6 Can I include the fonts on a CD of freeware or commercial fonts? +Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself. + +1.7 Can I sell a software package that includes these fonts? +Yes, you can do this with both the Original Version and a Modified Version. Examples of bundling made possible by the OFL would include: word processors, design and publishing applications, training and educational software, edutainment software, etc. + +1.8 Why won't the OFL let me sell the fonts alone? +The intent is to keep people from making money by simply redistributing the fonts. The only people who ought to profit directly from the fonts should be the original authors, and those authors have kindly given up potential direct income to distribute their fonts under the OFL. Please honor and respect their contribution! + +1.9 I've come across a font released under the OFL. How can I easily get more information about the Original Version? How can I know where it stands compared to the Original Version or other Modified Versions? +Consult the copyright statement(s) in the license for ways to contact the original authors. Consult the FONTLOG for information on how the font differs from the Original Version, and get in touch with the various contributors via the information in the acknowledgment section. Please consider using the Original Versions of the fonts whenever possible. + +1.10 What do you mean in condition 4? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement? +The intent is that the goodwill and reputation of the author(s) should not be used in a way that makes it sound like the original author(s) endorse or approve of a specific Modified Version or software bundle. For example, it would not be right to advertise a word processor by naming the author(s) in a listing of software features, or to promote a Modified Version on a web site by saying "designed by ...". However, it would be appropriate to acknowledge the author(s) if your software package has a list of people who deserve thanks. We realize that this can seem to be a gray area, but the standard used to judge an acknowledgement is that if the acknowledgement benefits the author(s) it is allowed, but if it primarily benefits other parties, or could reflect poorly on the author(s), then it is not. + + +2 ABOUT MODIFYING OFL LICENSED FONTS + +2.1 Can I change the fonts? Are there any limitations to what things I can and cannot change? +You are allowed to change anything, as long as such changes do not violate the terms of the license. In other words, you are not allowed to remove the copyright statement(s) from the font, but you could add additional information into it that covers your contribution. + +2.2 I have a font that needs a few extra glyphs - can I take them from an OFL licensed font and copy them into mine? +Yes, but if you distribute that font to others it must be under the OFL, and include the information mentioned in condition 2 of the license. + +2.3 Can I charge people for my additional work? In other words, if I add a bunch of special glyphs and/or OpenType/Graphite code, can I sell the enhanced font? +Not by itself. Derivative fonts must be released under the OFL and cannot be sold by themselves. It is permitted, however, to include them in a larger software package (such as text editors, office suites or operating systems), even if the larger package is sold. In that case, you are strongly encouraged, but not required, to also make that derived font easily and freely available outside of the larger package. + +2.4 Can I pay someone to enhance the fonts for my use and distribution? +Yes. This is a good way to fund the further development of the fonts. Keep in mind, however, that if the font is distributed to others it must be under the OFL. You won't be able to recover your investment by exclusively selling the font, but you will be making a valuable contribution to the community. Please remember how you have benefitted from the contributions of others. + +2.5 I need to make substantial revisions to the font to make it work with my program. It will be a lot of work, and a big investment, and I want to be sure that it can only be distributed with my program. Can I restrict its use? +No. If you redistribute a Modified Version of the font it must be under the OFL. You may not restrict it in any way. This is intended to ensure that all released improvements to the fonts become available to everyone. But you will likely get an edge over competitors by being the first to distribute a bundle with the enhancements. Again, please remember how you have benefitted from the contributions of others. + +2.6 Do I have to make any derivative fonts (including source files, build scripts, documentation, etc.) publicly available? +No, but please do share your improvements with others. You may find that you receive more than what you gave in return. + +2.7 Why can't I use the Reserved Font Name(s) in my derivative font names? I'd like people to know where the design came from. +The best way to acknowledge the source of the design is to thank the original authors and any other contributors in the files that are distributed with your revised font (although no acknowledgement is required). The FONTLOG is a natural place to do this. Reserved Font Name(s) ensure that the only fonts that have the original names are the unmodified Original Versions. This allows designers to maintain artistic integrity while allowing collaboration to happen. It eliminates potential confusion and name conflicts. When choosing a name be creative and avoid names that reuse almost all the same letters in the same order or sound like the original. Keep in mind that the Copyright Holder(s) can allow a specific trusted partner to use Reserved Font Name(s) through a separate written agreement. + +2.8 What do you mean by "primary name as presented to the user"? Are you referring to the font menu name? +Yes, the requirement to change the visible name used to differentiate the font from others applies to the font menu name and other mechanisms to specify a font in a document. It would be fine, for example, to keep a text reference to the original fonts in the description field, in your modified source file or in documentation provided alongside your derivative as long as no one could be confused that your modified source is the original. But you cannot use the Reserved Font Names in any way to identify the font to the user (unless the Copyright Holder(s) allow(s) it through a separate agreement; see section 2.7). Users who install derivatives ("Modified Versions") on their systems should not see any of the original names ("Reserved Font Names") in their font menus, for example. Again, this is to ensure that users are not confused and do not mistake a font for another and so expect features only another derivative or the Original Version can actually offer. Ultimately, creating name conflicts will cause many problems for the users as well as for the designer of both the Original and Modified versions, so please think ahead and find a good name for your own derivative. Font substitution systems like fontconfig, or application-level font fallback configuration within OpenOffice.org or Scribus, will also get very confused if the name of the font they are configured to substitute to actually refers to another physical font on the user's hard drive. It will help everyone if Original Versions and Modified Versions can easily be distinguished from one another and from other derivatives. The substitution mechanism itself is outside the scope of the license. Users can always manually change a font reference in a document or set up some kind of substitution at a higher level but at the lower level the fonts themselves have to respect the Reserved Font Name(s) requirement to prevent ambiguity. If a substitution is currently active the user should be aware of it. + +2.9 Am I not allowed to use any part of the Reserved Font Names? +You may not use the words of the font names, but you would be allowed to use parts of words, as long as you do not use any word from the Reserved Font Names entirely. We do not recommend using parts of words because of potential confusion, but it is allowed. For example, if "Foobar" was a Reserved Font Name, you would be allowed to use "Foo" or "bar", although we would not recommend it. Such an unfortunate choice would confuse the users of your fonts as well as make it harder for other designers to contribute. + +2.10 So what should I, as an author, identify as Reserved Font Names? +Original authors are encouraged to name their fonts using clear, distinct names, and only declare the unique parts of the name as Reserved Font Names. For example, the author of a font called "Foobar Sans" would declare "Foobar" as a Reserved Font Name, but not "Sans", as that is a common typographical term, and may be a useful word to use in a derivative font name. Reserved Font Names should also be single words. A font called "Flowing River" should have Reserved Font Names "Flowing" and "River", not "Flowing River". + +2.11 Do I, as an author, have to identify any Reserved Font Names? +No, but we strongly encourage you to do so. This is to avoid confusion between your work and Modified versions. You may, however, give certain trusted parties the right to use any of your Reserved Font Names through separate written agreements. For example, even if "Foobar" is a RFN, you could write up an agreement to give company "XYZ" the right to distribute a modified version with a name that includes "Foobar". This allows for freedom without confusion. + +2.12 Are any names (such as the main font name) reserved by default? +No. That is a change to the license as of version 1.1. If you want any names to be Reserved Font Names, they must be specified after the copyright statement(s). + +2.13 What is this FONTLOG thing exactly? +It has three purposes: 1) to provide basic information on the font to users and other developers, 2) to document changes that have been made to the font or accompanying files, either by the original authors or others, and 3) to provide a place to acknowledge the authors and other contributors. Please use it! See below for details on how changes should be noted. + +2.14 Am I required to update the FONTLOG? +No, but users, designers and other developers might get very frustrated at you if you don't! People need to know how derivative fonts differ from the original, and how to take advantage of the changes, or build on them. + + +3 ABOUT THE FONTLOG + +The FONTLOG can take a variety of formats, but should include these four sections: + +3.1 FONTLOG for <FontFamilyName> +This file provides detailed information on the <FontFamilyName> font software. This information should be distributed along with the <FontFamilyName> fonts and any derivative works. + +3.2 Basic Font Information +(Here is where you would describe the purpose and brief specifications for the font project, and where users can find more detailed documentation. It can also include references to how changes can be contributed back to the Original Version. You may also wish to include a short guide to the design, or a reference to such a document.) + +3.3 ChangeLog +(This should list both major and minor changes, most recent first. Here are some examples:) + +7 February 2007 (Pat Johnson) <NewFontFamilyName> Version 1.3 +- Added Greek and Cyrillic glyphs +- Released as "<NewFontFamilyName>" + +7 March 2006 (Fred Foobar) <NewFontFamilyName> Version 1.2 +- Tweaked contextual behaviours +- Released as "<NewFontFamilyName>" + +1 Feb 2005 (Jane Doe) <NewFontFamilyName> Version 1.1 +- Improved build script performance and verbosity +- Extended the smart code documentation +- Corrected minor typos in the documentation +- Fixed position of combining inverted breve below (U+032F) +- Added OpenType/Graphite smart code for Armenian +- Added Armenian glyphs (U+0531 -> U+0587) +- Released as "<NewFontFamilyName>" + +1 Jan 2005 (Joe Smith) <FontFamilyName> Version 1.0 +- Initial release of font "<FontFamilyName>" + +3.4 Acknowledgements +(Here is where contributors can be acknowledged. + +If you make modifications be sure to add your name (N), email (E), web-address (W) and description (D). This list is sorted by last name in alphabetical order.) + +N: Jane Doe +E: jane@university.edu +W: http://art.university.edu/projects/fonts +D: Contributor - Armenian glyphs and code + +N: Fred Foobar +E: fred@foobar.org +W: http://foobar.org +D: Contributor - misc Graphite fixes + +N: Pat Johnson +E: pat@fontstudio.org +W: http://pat.fontstudio.org +D: Designer - Greek & Cyrillic glyphs based on Roman design + +N: Tom Parker +E: tom@company.com +W: http://www.company.com/tom/projects/fonts +D: Engineer - original smart font code + +N: Joe Smith +E: joe@fontstudio.org +W: http://joe.fontstudio.org +D: Designer - original Roman glyphs + +(Original authors can also include information here about their organization.) + + +4 ABOUT MAKING CONTRIBUTIONS + +4.1 Why should I contribute my changes back to the original authors? +It would benefit many people if you contributed back to what you've received. Providing your contributions and improvements to the fonts and other components (data files, source code, build scripts, documentation, etc.) could be a tremendous help and would encourage others to contribute as well and 'give back', which means you will have an opportunity to benefit from other people's contributions as well. Sometimes maintaining your own separate version takes more effort than merging back with the original. Be aware that any contributions, however, must be either your own original creation or work that you own, and you may be asked to affirm that clearly when you contribute. + +4.2 I've made some very nice improvements to the font, will you consider adopting them and putting them into future Original Versions? +Most authors would be very happy to receive such contributions. Keep in mind that it is unlikely that they would want to incorporate major changes that would require additional work on their end. Any contributions would likely need to be made for all the fonts in a family and match the overall design and style. Authors are encouraged to include a guide to the design with the fonts. It would also help to have contributions submitted as patches or clearly marked changes (the use of smart source revision control systems like subversion, svk or bzr is a good idea). Examples of useful contributions are bug fixes, additional glyphs, stylistic alternates (and the smart font code to access them) or improved hinting. + +4.3 How can I financially support the development of OFL fonts? +It is likely that most authors of OFL fonts would accept financial contributions - contact them for instructions on how to do this. Such contributions would support future development. You can also pay for others to enhance the fonts and contribute the results back to the original authors for inclusion in the Original Version. + + +5 ABOUT THE LICENSE + +5.1 I see that this is version 1.1 of the license. Will there be later changes? +Version 1.1 is the first minor revision of the OFL. We are confident that version 1.1 will meet most needs, but are open to future improvements. Any revisions would be for future font releases, and previously existing licenses would remain in effect. No retroactive changes are possible, although the Copyright Holder(s) can re-release the font under a revised OFL. All versions will be available on our web site: http://scripts.sil.org/OFL. + +5.2 Can I use the SIL Open Font License for my own fonts? +Yes! We heartily encourage anyone to use the OFL to distribute their own original fonts. It is a carefully constructed license that allows great freedom along with enough artistic integrity protection for the work of the authors as well as clear rules for other contributors and those who redistribute the fonts. Some additional information about using the OFL is included at the end of this FAQ. + +5.3 Does this license restrict the rights of the Copyright Holder(s)? +No. The Copyright Holder(s) still retain(s) all the rights to their creation; they are only releasing a portion of it for use in a specific way. For example, the Copyright Holder(s) may choose to release a 'basic' version of their font under the OFL, but sell a restricted 'enhanced' version. Only the Copyright Holder(s) can do this. + +5.4 Is the OFL a contract or a license? +The OFL is a license and not a contract and so does not require you to sign it to have legal validity. By using, modifying and redistributing components under the OFL you indicate that you accept the license. + +5.5 How about translating the license and the FAQ into other languages? +SIL certainly recognises the need for people who are not familiar with English to be able to understand the OFL and this FAQ better in their own language. Making the license very clear and readable is a key goal of the OFL. + +If you are an experienced translator, you are very welcome to help by translating the OFL and its FAQ so that designers and users in your language community can understand the license better. But only the original English version of the license has legal value and has been approved by the community. Translations do not count as legal substitutes and should only serve as a way to explain the original license. SIL - as the author and steward of the license for the community at large - does not approve any translation of the OFL as legally valid because even small translation ambiguities could be abused and create problems. + +We give permission to publish unofficial translations into other languages provided that they comply with the following guidelines: + +- put the following disclaimer in both English and the target language stating clearly that the translation is unofficial: + +"This is an unofficial translation of the SIL Open Font License into $language. It was not published by SIL International, and does not legally state the distribution terms for fonts that use the OFL. A release under the OFL is only valid when using the original English text. + +However, we recognize that this unofficial translation will help users and designers not familiar with English to understand the SIL OFL better and make it easier to use and release font families under this collaborative font design model. We encourage designers who consider releasing their creation under the OFL to read the FAQ in their own language if it is available. + +Please go to http://scripts.sil.org/OFL for the official version of the license and the accompanying FAQ." + +- keep your unofficial translation current and update it at our request if needed, for example if there is any ambiguity which could lead to confusion. + +If you start such a unofficial translation effort of the OFL and its accompanying FAQ please let us know, thank you. + + +6 ABOUT SIL INTERNATIONAL + +6.1 Who is SIL International and what does it do? +SIL International is a worldwide faith-based education and development organization (NGO) that studies, documents, and assists in developing the world's lesser-known languages through literacy, linguistics, translation, and other academic disciplines. SIL makes its services available to all without regard to religious belief, political ideology, gender, race, or ethnic background. SIL's members and volunteers share a Christian commitment. + +6.2 What does this have to do with font licensing? +The ability to read, write, type and publish in one's own language is one of the most critical needs for millions of people around the world. This requires fonts that are widely available and support lesser-known languages. SIL develops - and encourages others to develop - a complete stack of writing systems implementation components available under open licenses. This open stack includes input methods, smart fonts, smart rendering libraries and smart applications. There has been a need for a common open license that is specifically applicable to fonts and related software (a crucial component of this stack) so SIL developed the SIL Open Font License with the help of the FLOSS community. + +6.3 How can I contact SIL? +Our main web site is: http://www.sil.org/ +Our site about complex scripts is: http://scripts.sil.org/ +Information about this license (including contact email information) is at: http://scripts.sil.org/OFL + + +7 ABOUT USING THE OFL FOR YOUR ORIGINAL FONTS + +If you want to release your fonts under the OFL, you only need to do the following: + +7.1 Put your copyright and reserved font names information in the beginning of the main OFL file. +7.2 Put your copyright and the OFL references in your various font files (such as in the copyright, license and description fields) and in your other components (build scripts, glyph databases, documentation, rendering samples, etc). +7.3 Write an initial FONTLOG for your font and include it in the release package. +7.4 Include the OFL in your release package. +7.5 We also highly recommend you include the relevant practical documentation on the license by putting the OFL-FAQ in your package. +7.6 If you wish, you can use the OFL Graphics on your web page. + + + +That's all. If you have any more questions please get in touch with us. + + diff --git a/Master/texmf-dist/doc/fonts/oldstandard/OFL.txt b/Master/texmf-dist/doc/fonts/oldstandard/OFL.txt new file mode 100644 index 00000000000..0465ff4d116 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/OFL.txt @@ -0,0 +1,95 @@ +Copyright (c) 2006-2008, Alexey Kryukov +(<http://www.thessalonica.org.ru|alexios@thessalonica.org.ru>). +All rights reserved. + +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/Master/texmf-dist/doc/fonts/oldstandard/README b/Master/texmf-dist/doc/fonts/oldstandard/README new file mode 100644 index 00000000000..9a5049bb335 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/README @@ -0,0 +1,13 @@ +Old Standard is supposed to reproduce the actual printing style of the +early 20th century, reviving a specific type of Modern (classicist) +style of serif typefaces, very commonly used in various editions of +the late 19th and early 20th century, but almost completely abandoned +later. + +It supports typesetting of Old and Middle English, Old Icelandic, +Cyrillic (with historical characters, extensions for Old Slavonic and +localised forms), Gothic transliterations, critical editions of +Classical Greek and Latin, and many more. + +Old Standard works with TeX engines that directly support OpenType +features, such as XeTeX and LuaTeX. diff --git a/Master/texmf-dist/doc/fonts/oldstandard/didot-de.png b/Master/texmf-dist/doc/fonts/oldstandard/didot-de.png Binary files differnew file mode 100644 index 00000000000..da117512683 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/didot-de.png diff --git a/Master/texmf-dist/doc/fonts/oldstandard/didot-fr.png b/Master/texmf-dist/doc/fonts/oldstandard/didot-fr.png Binary files differnew file mode 100644 index 00000000000..a39b0085a9c --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/didot-fr.png diff --git a/Master/texmf-dist/doc/fonts/oldstandard/gendocs.sh b/Master/texmf-dist/doc/fonts/oldstandard/gendocs.sh new file mode 100644 index 00000000000..9cb47268bcb --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/gendocs.sh @@ -0,0 +1,12 @@ +#!/bin/bash + +ZIP="zip -DrX" +PACK_NAME=oldstand-manual +VERSION="2.0" + +rm -f *.toc *.aux *.out +xelatex $PACK_NAME.tex +xelatex $PACK_NAME.tex +rm -f *.zip + +$ZIP $PACK_NAME.src.zip gendocs.sh $PACK_NAME.tex *.png diff --git a/Master/texmf-dist/doc/fonts/oldstandard/genfonts.sh b/Master/texmf-dist/doc/fonts/oldstandard/genfonts.sh new file mode 100644 index 00000000000..c73e8f27a7d --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/genfonts.sh @@ -0,0 +1,13 @@ +#!/bin/bash + +ZIP="zip -DrX" +PACK_NAME=oldstandard +DOCS="OFL.txt OFL-FAQ.txt FONTLOG.txt" +VERSION="2.0.2" + +fontforge -script ost-generate.py +rm -f *.zip + +$ZIP $PACK_NAME-$VERSION.ttf.zip *.ttf $DOCS +$ZIP $PACK_NAME-$VERSION.otf.zip *.otf $DOCS +$ZIP $PACK_NAME-$VERSION.src.zip genfonts.sh ost-generate.py *.sfd $DOCS diff --git a/Master/texmf-dist/doc/fonts/oldstandard/greek-contextual.png b/Master/texmf-dist/doc/fonts/oldstandard/greek-contextual.png Binary files differnew file mode 100644 index 00000000000..249e7808ec8 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/greek-contextual.png diff --git a/Master/texmf-dist/doc/fonts/oldstandard/oldstand-manual.pdf b/Master/texmf-dist/doc/fonts/oldstandard/oldstand-manual.pdf Binary files differnew file mode 100644 index 00000000000..99ab131da3c --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/oldstand-manual.pdf diff --git a/Master/texmf-dist/doc/fonts/oldstandard/oldstand-manual.tex b/Master/texmf-dist/doc/fonts/oldstandard/oldstand-manual.tex new file mode 100644 index 00000000000..6a1d7b87308 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/oldstand-manual.tex @@ -0,0 +1,2459 @@ +\documentclass[12pt,a4paper,openany]{book} +\usepackage[EU1]{fontenc} +\newcommand{\UTFencname}{EU1} +\newcommand{\cyrillicencoding}{EU1} + +\usepackage[russian,english]{babel} + +\usepackage{fontspec} +\usepackage{xunicode} +\defaultfontfeatures{Mapping=tex-text} + +\setmainfont{OldStandard-Regular} + +\hoffset=-1in +\voffset=-1in +\oddsidemargin=30mm +\evensidemargin=20mm +\textwidth=160mm +\textheight=240mm + +\catcode"2019=12 +\lccode"2019="2019 + +\usepackage{array} +\usepackage[dvipdfm,colorlinks=true]{hyperref} + +\providecommand{\XeTeX}{X\kern-.125em\lower.5ex\hbox{Ǝ}\kern-.1667em\TeX} + +\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 2.0 +} + +\bigskip + +\rule{\textwidth}{0.5pt} + +\vspace{\stretch{1}} + +{\Large Alexey Kryukov + +} + +\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 (e. g. typewriter fonts). + +\vspace{\stretch{0.1}} + +Copyright © 2006--2008 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} + +Everybody 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 less contrast and more +legible. 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. May be, you was wandering, why it is so +difficult to find a digital typeface of similar style, despite of the vast +amount 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 +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 the people’s eyes with old books they learned on. +However, it would be even more important to stress the fact that the book +printing in many non-Western languages first appeared or was greatly +improved in 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 still +nobody has 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 for which I have designed Old Standard, a +multilingual font which attempts to revive the most common printing style +of 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 which 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 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 case of Russian books, also Cyrillic +letters, used alongside. I have also brought 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 +which 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 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 +the most part of Greek editions printed in continental Europe for more than +100 yers was 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 \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 which follows mostly the German and Russian understanding of the +Didot style, although for some characters (e.~g. 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 the 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. + +\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. + +%You may download Old Standard either as a standalone package, or with +%Thessalonica for Microsoft Word 97/2000/XP/2003~— my utility designed to +%simplify the multilingual input in this word processor. + +\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. These fonts use the +file extension *.ttf, and under Windows they appear in a folder or on a +disk using a dog-eared page icon with two overlapping “T’s” (for +TrueType); + +\item[\XeTeXpicfile "opentype.png"] \hyperlink{OT}{OpenType} fonts with +PostScript outlines (also called OpenType-CFF), with an *.otf extension. +The Windows icon for a PostScript-flavored OpenType font is a dog-eared +page icon with an “O” (for OpenType). + +\end{description} + +It is worth pointing out, that, despite of the old “TT” icon used by +Windows to represent them, the TrueType fonts actually support the +same set of advanced \hyperlink{OT}{OpenType} features as their +OpenType-CFF counterparts (see \autoref{i18n} for information on +how to take advantage of those features). + +Note that you can install both TrueType and OpenType-CFF versions +alongside, as they use different naming conventions (the TrueType fonts +have a “TT” suffix in their names). However, in most cases you will +probably prefer the TrueType fonts, as this format was introduced long +time ago and now is widely supported on various platforms and operational +systems. + +OpenType-CFF is a relatively new font format, which is sometimes preferred +over TrueType for the purposes of the desktop publishing. A system-level +support for this font format was first introduced in Windows 2000, but in +practice it was poorly supported by Microsoft software until Office 2003 +was released. In particular, before Office 2003 one could not use +OpenType-CFF fonts to input a non-Latin text in Microsoft Word, although it +was possible to apply them to an existing text. Even now some problems +still persist: the most important one is that in most 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.} will work only for +the first 256 characters in the font. Of course this means that you can get +kerning working neither for Greek nor for Cyrillic letters. The only +exception are Adobe’s desktop publishing applications (InDesign, +Illustrator, Photoshop), which don’t have this problem and provide a really +good support for OpenType-CFF fonts. I hope the situation will change in +future, but now I can recommend installing the OpenType-CFF versions under +Windows only if you a planning to use them with the Adobe software. + +You can install OpenType-CFF fonts also in Unix-like systems (since this +format is supported by the FreeType library), but be aware that here you +can face even more problems than under Windows. The worst thing is that +OpenOffice.org currently can’t access OpenType-CFF fonts at all, although +this issue was already several times reported to the developers. Some +other applications have no such problem, but they are still unable to +access OpenType kerning information. The exceptions are rare: the only GUI +application which allows to take a full advantage of the OpenType-CFF fonts +is Scribus, an open source desktop publishing system. You can also use +OpenType fonts with the Linux port of +\href{http://scripts.sil.org/xetex}{\XeTeX}~— the Unicode version of the +\TeX{} typesetting system. In particular this manual was set with \XeTeX{} +and the OpenType-CFF versions of the fonts. + +\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: either Microsoft Word 97~/ 2000~/ 2002~(=~XP)~/ +2003~/ 2007 or OpenOffice.org 1.0 or above. For more information about +OpenOffice.org, a full-featured, open-source cross-platform suite +comparable to Microsoft Office that is attracting considerable interest +these days, see +\href{http://www.openoffice.org}{\texttt{http://www.openoffice.org}}. + +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. 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; 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 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 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 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 +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, 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, currently actively developed by +\href{http://www.sil.org}{SIL international}. + +\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 have +selected OFL for my typeface because it is the only known license developed +specially for fonts, which 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 into 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 (i.~e. distribute +either original or modified versions under a different license). One more +significant restriction is that you can’t sell the fonts alone (however +OFL allows 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 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 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 which 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 (e.~g. support much less +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, i.~e. 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 since Old Standard is supposed to reproduce the actual printing style +of the early 20\textsuperscript{th} century, I shall avoid implementing new +characters basing just on general considerations. Ideally, all glyphs +should be based on real examples taken from some old editions. Of course, +exceptions from 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) only simultaneously, i.~e. if a specific character is added +to the regular font, it should also be designed for italics and bold. The +exceptions are allowed for glyphs which don't have dedicated codepoints +and supposed to be accessible via smart font features, as well as for those +characters which have no corresponding italic or slanted style (this is the case +of 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 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)] Almost fully covered, except Coptic +letters, editorial signs and some archaic characters, recently added to +Unicode. These characters are rarely used and there is no stable tradition +of their typographic representation. However, if you really need them, +write me and I’ll add them for you. + +\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 (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)] Old Standard implements +accented combinations with W for Welsh and LATIN CAPITAL LETTER SHARP S +(U+1E9E) for German. + +\item[Greek Extended (1F00–1FFF)] Fully supported. + +\item[General Punctuation (2000–206F)] Almost fully supported, although +some characters, which might be of some interest for philologists, are +still missing. Report me if you need them. + +\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 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 U+2116, TRADE MARK SIGN U+2122 and OHM SIGN 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 U+2329 and U+232A (these characters should +probably be avoided: use “mathematical” angle brackets at 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[CJK Symbols and Punctuation (3000–303F)] Again, Old Standard includes +angle and square brackets at U+3008/U+3009 and 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 (U+A77D) +and Ancient Roman epigraphic letters. + +\item[Private Use Area] This block includes many different glyphs, but it +is not recommended to use them directly. Instead, you should access them +by applying various OpenType features (see \autoref{OT} for more +information), if only 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, still lots of characters are 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 accented characters from the Latin Extended Additional range +(the first part, 1E00-1E9F), useful for Indic and Semitic transliterations. +However, currently you already can type almost anyone of those characters +using combining diacritical marks, if only your application supports smart +accent positioning (as Microsoft Word 2003 for example); + +\item Some IPA characters (at least those needed for English phonetic +transcription); + +\item Supplemental Punctuation (2E00—2E0D) and New Testament editorial +symbols in particular. Again, I need some good examples showing these +characters used in editions of the pre-computer era; + +\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} + +Currently I have no plans of providing support for any other scripts except +Latin, Greek and Cyrillic, as there are other needs that are much higher +priority. It is also very unlikely that I can implement small capitals and +some other nice typographic features in the near future, although it would +be really nice to have them supported. + +\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 specific language and some glyph design peculiarities. As +the implementation of “smart” features in Old Standard is based on the +OpenType technology, I had to start this section from a special paragraph +about OpenType. After that the manual describes various language-specific +details, sorting them by scripts: Latin, Greek and Cyrillic. + +\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 version of +\href{http://www.openoffice.org}{OpenOffice.org}. 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} +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 (U+0218, U+0219, U+021A, U+021B) +instead of the corresponding letters with cedilla (U+015E, U+015F, U+0162, +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{center} +\LARGE +\begin{tabular}[c]{ccc} + +\fontspec[Script=Latin,Color=696969]{OldStandard-Regular} +raţiune şi conştiinţă & ⇒ & +\fontspec[Script=Latin,Language=Romanian]{OldStandard-Regular} +raţiune şi conştiinţă \\ +\fontspec[Script=Latin,Color=696969]{OldStandard-Regular} +\itshape raţiune şi conştiinţă & ⇒ &\itshape +\fontspec[Script=Latin,Language=Romanian]{OldStandard-Regular} +raţiune şi conştiinţă \\ + +\end{tabular} +\end{center} + +\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{center} +\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]{OldStandard-Regular} +\itshape Gosfregð & ⇒ &\itshape +\fontspec[Script=Latin,RawFeature=+ss02]{OldStandard-Regular} +Gosfregð \\ + +\end{tabular} +\end{center} + +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]{OldStandard-Regular} +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]{OldStandard-Regular} +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]{OldStandard-Regular} +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]{OldStandard-Regular} +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]{OldStandard-Regular} +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://briem.ismennt.is/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} 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 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} \textit{\char"EB02} at U+03B8 +(thus making it the default letterform), while the open, or script variant +form \textit{ϑ} is mapped to 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 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 U+03B8 (GREEK SMALL LETTER THETA) and U+03D1 (GREEK THETA +SYMBOL), while the closed glyph is placed to a slot in the PUA and can be +automatically substituted instead of U+03B8 in one of the following +situations: + +\begin{itemize} + +\item in any postition, if the \texttt{mgrk} (Mathematical Greek) feature +tag is applied. Thus in mathematical contexts you can get a glyph mapping +which exactly corresponds to one defined by Unicode; + +\item at the middle and the end of words, if stylistic set 06 (the +\texttt{ss06} feature tag) is applied. + +\end{itemize} + +Thus enabling \texttt{ss06} will turn on contextual forms both for +\textit{beta} and \textit{theta}, as demonstrated below: + +\begin{center} +\LARGE +\begin{tabular}[c]{ccc} + +\fontspec[Script=Greek,Color=696969]{OldStandard-Regular} +θαυμασθεὶς βάρβαρος & ⇒ & +\fontspec[Script=Greek,RawFeature=+ss06]{OldStandard-Regular} +θαυμασθεὶς βάρβαρος \\ +\fontspec[Script=Greek,Color=696969]{OldStandard-Regular} +\itshape θαυμασθεὶς βάρβαρος & ⇒ & \itshape +\fontspec[Script=Greek,RawFeature=+ss06]{OldStandard-Regular} +θαυμασθεὶς βάρβαρος \\ + +\end{tabular} +\end{center} + +Note that the 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]{OldStandard-Regular} +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} + +Old Standard also implements stroked \textit{phi} (U+03D5), omega-like +\textit{pi} (U+03D6) and lunate epsilon (U+03F5), but these glyphs are not +accessible via any OpenType features, and using them anywhere except +mathematical contexts is not recommended. In other cases I had just to put +the same glyph image to more than one Unicode slot. For example, U+03F0 +(GREEK KAPPA SYMBOL) just contains a reference to U+03BA (the regular Greek +kappa), as the only possible form for this letter both in the Didot and +Teubner styles is the x-shaped one. All such “alternate” codepoints are +supported only for compatibility with other existing Greek fonts and for +the case you have occasionally used them in some texts. + +The same statement is 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]{OldStandard-Regular} +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{Tilda-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} + +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 implemented as 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 U+1FBC, U+1FCC, 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 can be done by applying an OpenType +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} + +So for now I can’t provide an alternative for the implementation which +looks preferred for me. If you absolutely don’t like capital vowels with +iota subscript, 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 +\href{http://alas.matf.bg.ac.yu/biblioteka/home.jsp}{collection of such +examples} is 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]{OldStandard-Regular} +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{center} +\LARGE + +\begin{tabular}[c]{ccc} + +\fontspec[Script=Cyrillic,Language=Serbian,Color=696969] +{OldStandard-Regular}мртви облак & ⇒ & +\fontspec[Script=Cyrillic,Language=Serbian,RawFeature=+ss12] +{OldStandard-Regular}мртви облак \\ +\fontspec[Script=Cyrillic,Language=Serbian,Color=696969] +{OldStandard-Regular}\itshape мртви облак & ⇒ &\itshape +\fontspec[Script=Cyrillic,Language=Serbian,RawFeature=+ss12] +{OldStandard-Regular}мртви облак \\ + +\end{tabular} +\end{center} + +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{center} +\begin{tabular}[c] +{|>{\fontspec[Script=Cyrillic,Language=Church Slavonic]{OldStandard-Regular}} +p{4em}|p{6em}|p{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{center} + +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{center} +\LARGE +\begin{tabular}[c]{cccc} + +\fontspec[Script=Cyrillic,Color=696969]{OldStandard-Regular} +не вѣдыи будущаго & +⇒ & +\fontspec[Script=Cyrillic,Language=Church Slavonic]{OldStandard-Regular} +не вѣдыи будущаго &\\ + +\fontspec[Script=Cyrillic,Color=696969]{OldStandard-Regular} +\itshape не вѣдыи будущаго & +⇒ & +\fontspec[Script=Cyrillic,Language=Church Slavonic]{OldStandard-Regular} +\itshape не вѣдыи будущаго &\\ + +\end{tabular} +\end{center} + +These alternates are automatically 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}). + +\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{center} +\LARGE +\fontspec[Script=Cyrillic,Language=Church Slavonic]{OldStandard-Regular} + +\begin{tabular}[c]{ccc} + +\fontspec[Script=Cyrillic,Language=Church Slavonic,Color=696969]{OldStandard-Regular} +прѣдъ богомъ & ⇒ & прѣⷣ҇ бⷢ҇омъ \\ +\fontspec[Script=Cyrillic,Language=Church Slavonic,Color=696969]{OldStandard-Regular} +\itshape прѣдъ богомъ & ⇒ &\itshape прѣⷣ҇ бⷢ҇омъ \\ + +\end{tabular} +\end{center} + +\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]{OldStandard-Regular} +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} + +\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.) 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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. 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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. 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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/Master/texmf-dist/doc/fonts/oldstandard/opentype.png b/Master/texmf-dist/doc/fonts/oldstandard/opentype.png Binary files differnew file mode 100644 index 00000000000..ea138301406 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/opentype.png diff --git a/Master/texmf-dist/doc/fonts/oldstandard/ost-generate.py b/Master/texmf-dist/doc/fonts/oldstandard/ost-generate.py new file mode 100644 index 00000000000..0f394d9776f --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/ost-generate.py @@ -0,0 +1,24 @@ +import fontforge + +base_name = "OldStandard" +full_name = "Old Standard" +styles = ("Regular", "Italic", "Bold",) + +def process_font(name, fname, style): + filename = name + "-" + style + font = fontforge.open(filename + ".sfd") + font.encoding = "mac" + font.generate(filename + ".otf",flags=("opentype","PfEd-colors","PfEd-lookups"),layer="Fore") + + font.familyname = fname + " TT" + font.fullname = fname + " TT " + style + font.fontname = name + "TT-" + style + font.generate(filename + ".ttf",flags=("opentype","old-kern","PfEd-colors","PfEd-lookups"),layer="TTF") + + font.close() + +for style in styles: + fontforge.setPrefs("AutoHint",False) + fontforge.setPrefs("ClearInstrsBigChanges",False) + fontforge.setPrefs("CopyTTFInstrs",False) + process_font(base_name, full_name, style) diff --git a/Master/texmf-dist/doc/fonts/oldstandard/serbian.png b/Master/texmf-dist/doc/fonts/oldstandard/serbian.png Binary files differnew file mode 100644 index 00000000000..72c42a8d52f --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/serbian.png diff --git a/Master/texmf-dist/doc/fonts/oldstandard/spadmin-add.png b/Master/texmf-dist/doc/fonts/oldstandard/spadmin-add.png Binary files differnew file mode 100644 index 00000000000..f56d9b4d71b --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/spadmin-add.png diff --git a/Master/texmf-dist/doc/fonts/oldstandard/spadmin.png b/Master/texmf-dist/doc/fonts/oldstandard/spadmin.png Binary files differnew file mode 100644 index 00000000000..04108eb6658 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/spadmin.png diff --git a/Master/texmf-dist/doc/fonts/oldstandard/stand-su.png b/Master/texmf-dist/doc/fonts/oldstandard/stand-su.png Binary files differnew file mode 100644 index 00000000000..de323919aa9 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/stand-su.png diff --git a/Master/texmf-dist/doc/fonts/oldstandard/teubner.png b/Master/texmf-dist/doc/fonts/oldstandard/teubner.png Binary files differnew file mode 100644 index 00000000000..ca0b86c481c --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/teubner.png diff --git a/Master/texmf-dist/doc/fonts/oldstandard/truetype.png b/Master/texmf-dist/doc/fonts/oldstandard/truetype.png Binary files differnew file mode 100644 index 00000000000..e2540aeb1a3 --- /dev/null +++ b/Master/texmf-dist/doc/fonts/oldstandard/truetype.png |
