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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. 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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). 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If there is +no section Entitled “History” in the Document, create one stating the +title, year, authors, and publisher of the Document as given on its Title +Page, then add an item describing the Modified Version as stated in the +previous sentence. + +\item[J.] Preserve the network location, if any, given in the Document for +public access to a Transparent copy of the Document, and likewise the +network locations given in the Document for previous versions it was based +on. These may be placed in the “History” section. You may omit a network +location for a work that was published at least four years before the +Document itself, or if the original publisher of the version it refers to +gives permission. + +\item[K.] For any section Entitled “Acknowledgements” or “Dedications”, +Preserve the Title of the section, and preserve in the section all the +substance and tone of each of the contributor acknowledgements and/or +dedications given therein. + +\item[L.] Preserve all the Invariant Sections of the Document, unaltered in +their text and in their titles. Section numbers or the equivalent are not +considered part of the section titles. + +\item[M.] Delete any section Entitled “Endorsements”. Such a section may +not be included in the Modified Version. + +\item[N.] Do not retitle any existing section to be Entitled +“Endorsements” or to conflict in title with any Invariant Section. + +\item[O.] Preserve any Warranty Disclaimers. + +\end{itemize} + +If the Modified Version includes new front-matter sections or appendices +that qualify as Secondary Sections and contain no material copied from the +Document, you may at your option designate some or all of these sections as +invariant. To do this, add their titles to the list of Invariant Sections +in the Modified Version’s license notice. These titles must be distinct +from any other section titles. + +You may add a section Entitled “Endorsements”, provided it contains +nothing but endorsements of your Modified Version by various parties~— for +example, statements of peer review or that the text has been approved by an +organization as the authoritative definition of a standard. + +You may add a passage of up to five words as a Front-Cover Text, and a +passage of up to 25 words as a Back-Cover Text, to the end of the list of +Cover Texts in the Modified Version. Only one passage of Front-Cover Text +and one of Back-Cover Text may be added by (or through arrangements made +by) any one entity. If the Document already includes a cover text for the +same cover, previously added by you or by arrangement made by the same +entity you are acting on behalf of, you may not add another; but you may +replace the old one, on explicit permission from the previous publisher +that added the old one. + +The author(s) and publisher(s) of the Document do not by this License give +permission to use their names for publicity for or to assert or imply +endorsement of any Modified Version. + +\section{Combining Documents} +\label{FDL:sec5} + +You may combine the Document with other documents released under this +License, under the terms defined in \autoref{FDL:sec4} above for modified +versions, provided that you include in the combination all of the Invariant +Sections of all of the original documents, unmodified, and list them all as +Invariant Sections of your combined work in its license notice, and that +you preserve all their Warranty Disclaimers. + +The combined work need only contain one copy of this License, and multiple +identical Invariant Sections may be replaced with a single copy. If there +are multiple Invariant Sections with the same name but different contents, +make the title of each such section unique by adding at the end of it, in +parentheses, the name of the original author or publisher of that section +if known, or else a unique number. Make the same adjustment to the section +titles in the list of Invariant Sections in the license notice of the +combined work. + +In the combination, you must combine any sections Entitled “History” in the +various original documents, forming one section Entitled “History”; +likewise combine any sections Entitled “Acknowledgements”, and any sections +Entitled “Dedications”. You must delete all sections Entitled +“Endorsements”. + +\section{Collection of Documents} +\label{FDL:sec6} + +You may make a collection consisting of the Document and other documents +released under this License, and replace the individual copies of this +License in the various documents with a single copy that is included in +the collection, provided that you follow the rules of this License for +verbatim copying of each of the documents in all other respects. + +You may extract a single document from such a collection, and distribute +it individually under this License, provided you insert a copy of this +License into the extracted document, and follow this License in all +other respects regarding verbatim copying of that document. + +\section{Aggregation with Independent Works} +\label{FDL:sec7} + +A compilation of the Document or its derivatives with other separate and +independent documents or works, in or on a volume of a storage or +distribution medium, is called an “aggregate” if the copyright resulting +from the compilation is not used to limit the legal rights of the +compilation’s users beyond what the individual works permit. When the +Document is included in an aggregate, this License does not apply to the +other works in the aggregate which are not themselves derivative works of +the Document. + +If the Cover Text requirement of \autoref{FDL:sec3} is applicable to these +copies of the Document, then if the Document is less than one half of the +entire aggregate, the Document’s Cover Texts may be placed on covers that +bracket the Document within the aggregate, or the electronic equivalent of +covers if the Document is in electronic form. Otherwise they must appear +on printed covers that bracket the whole aggregate. + +\section{Translation} +\label{FDL:sec8} + +Translation is considered a kind of modification, so you may distribute +translations of the Document under the terms of \autoref{FDL:sec4}. +Replacing Invariant Sections with translations requires special permission +from their copyright holders, but you may include translations of some or +all Invariant Sections in addition to the original versions of these +Invariant Sections. You may include a translation of this License, and all +the license notices in the Document, and any Warranty Disclaimers, +provided that you also include the original English version of this License +and the original versions of those notices and disclaimers. In case of a +disagreement between the translation and the original version of this +License or a notice or disclaimer, the original version will prevail. + +If a section in the Document is Entitled “Acknowledgements”, “Dedications”, +or “History”, the requirement (\autoref{FDL:sec4}) to Preserve its Title +(section~1) will typically require changing the actual title. + +\section{Termination} +\label{FDL:sec9} + +You may not copy, modify, sublicense, or distribute the Document except +as expressly provided for under this License. Any other attempt to +copy, modify, sublicense or distribute the Document is void, and will +automatically terminate your rights under this License. However, +parties who have received copies, or rights, from you under this +License will not have their licenses terminated so long as such +parties remain in full compliance. + +\section{Future Revisions of this License} +\label{FDL:sec10} + +The Free Software Foundation may publish new, revised versions +of the GNU Free Documentation License from time to time. Such new +versions will be similar in spirit to the present version, but may +differ in detail to address new problems or concerns. See +\href{http://www.gnu.org/copyleft/}{http://www.gnu.org/copyleft/}. + +Each version of the License is given a distinguishing version number. +If the Document specifies that a particular numbered version of this +License “or any later version” applies to it, you have the option of +following the terms and conditions either of that specified version or +of any later version that has been published (not as a draft) by the +Free Software Foundation. If the Document does not specify a version +number of this License, you may choose any version ever published (not +as a draft) by the Free Software Foundation. + +\section*{ADDENDUM: How to use this License for your documents} +\phantomsection +\addcontentsline{toc}{section}{ADDENDUM: How to use this License for +your documents} + +To use this License in a document you have written, include a copy of +the License in the document and put the following copyright and +license notices just after the title page: + +\bigskip + +\begin{quote} +Copyright © YEAR YOUR NAME. +Permission is granted to copy, distribute and/or modify this document +under the terms of the GNU Free Documentation License, Version 1.2 +or any later version published by the Free Software Foundation; +with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. +A copy of the license is included in the section entitled “GNU +Free Documentation License”. +\end{quote} + +\bigskip + +If you have Invariant Sections, Front-Cover Texts and Back-Cover Texts, +replace the “with \dots\ Texts.” line with this: + +\bigskip + +\begin{quote} +with the Invariant Sections being LIST THEIR TITLES, with the +Front-Cover Texts being LIST, and with the Back-Cover Texts being LIST. +\end{quote} + +\bigskip + +If you have Invariant Sections without Cover Texts, or some other +combination of the three, merge those two alternatives to suit the +situation. + +If your document contains nontrivial examples of program code, we +recommend releasing these examples in parallel under your choice of +free software license, such as the GNU General Public License, +to permit their use in free software. + +\end{document} + |