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+\documentclass[12pt,a4paper,openany]{book}
+\usepackage[EU1]{fontenc}
+\newcommand{\UTFencname}{EU1}
+\newcommand{\cyrillicencoding}{EU1}
+
+\usepackage[russian,english]{babel}
+
+\usepackage{fontspec}
+\usepackage{xunicode}
+\defaultfontfeatures{Mapping=tex-text}
+
+\setmainfont{OldStandard-Regular}
+
+\hoffset=-1in
+\voffset=-1in
+\oddsidemargin=30mm
+\evensidemargin=20mm
+\textwidth=160mm
+\textheight=240mm
+
+\catcode"2019=12
+\lccode"2019="2019
+
+\usepackage{array}
+\usepackage[dvipdfm,colorlinks=true]{hyperref}
+
+\providecommand{\XeTeX}{X\kern-.125em\lower.5ex\hbox{Ǝ}\kern-.1667em\TeX}
+
+\makeatletter
+\renewcommand\tableofcontents{%
+\chapter*{\contentsname}%
+\thispagestyle{empty}
+\markboth{Table of contents}{Table of contents}
+\@starttoc{toc}%
+}
+\makeatother
+\sloppy
+
+\begin{document}
+
+\pagestyle{empty}
+
+\vspace*{\stretch{0.4}}
+
+\begin{center}
+
+{\fontsize{48}{56}\selectfont OLD STANDARD}
+
+\bigskip
+
+{\huge A Unicode Font\\ for Classical and Medieval Studies
+
+}
+
+\bigskip
+
+\rule{\textwidth}{0.5pt}
+
+\bigskip
+
+{\Large\itshape User’s manual\\
+Version 2.0
+}
+
+\bigskip
+
+\rule{\textwidth}{0.5pt}
+
+\vspace{\stretch{1}}
+
+{\Large Alexey Kryukov
+
+}
+
+\vspace{\stretch{0.6}}
+
+\end{center}
+
+\clearpage
+
+\vspace*{\stretch{1}}
+
+This manual is set in Old Standard with Latin Modern fonts used for missing
+styles (e. g. typewriter fonts).
+
+\vspace{\stretch{0.1}}
+
+Copyright © 2006--2008 Alexey Kryukov.
+
+Permission is granted to copy, distribute and/or modify this document
+under the terms of the GNU Free Documentation License, Version 1.2
+or any later version published by the Free Software Foundation;
+with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts.
+A copy of the license is included in the section entitled “GNU
+Free Documentation License”.
+
+\vspace{\stretch{0.2}}
+
+\clearpage
+
+\setcounter{page}{1}
+
+\tableofcontents
+
+\pagestyle{headings}
+
+\chapter{About Old Standard}
+\thispagestyle{empty}
+
+Everybody who has ever thumbed through any old books printed in the late
+19\textsuperscript{th} or early 20\textsuperscript{th} century may have
+noted a specific typeface style most commonly used at that time: basically,
+a variation of the modern (classicist) antiqua, but less contrast and more
+legible. This group of typefaces also had an accompanying style of italics
+with some specific shapes: \textit{k} with the upper leg terminating with a
+rounded ball, open bowl on \textit{g} (again, with a rounded ball at its end),
+curved bowl on \textit{y} and so on. May be, you was wandering, why it is so
+difficult to find a digital typeface of similar style, despite of the vast
+amount of computer fonts currently available. In general, the Modern style
+was almost completely abandoned in the middle 20\textsuperscript{th}
+century, as it no longer corresponded to the tastes of the time; moreover,
+contemporary typographers often consider this lettertype obsolete and
+out-of-fashion due to its “unnaturality”.
+
+Nevertheless, the classicist style in general, and its modification used in
+early 20\textsuperscript{th} century in particular, has at least one
+advantage: it is still very suitable for typesetting scientific papers,
+especially on social and humanitarian sciences, as its specific features
+are closely associated in the people’s eyes with old books they learned on.
+However, it would be even more important to stress the fact that the book
+printing in many non-Western languages first appeared or was greatly
+improved in 19\textsuperscript{th} century, and thus many classical
+typefaces for non-Latin scripts (the most beautiful examples of Greek and
+Cyrillic lettertypes in particular) were designed to be harmonizable with
+the Modern faces~— the standard Roman printing style of the time.
+
+That’s why the Modern style should be considered an extremely good choice
+for typesetting multilingual texts, and so I am really surprised that still
+nobody has attempted to implement a multilingual typeface on this basis.
+Instead, multilingual typesetting is usually done with Times-styled fonts,
+which eliminate specific features of each script instead of stressing them.
+This is the main reason for which I have designed Old Standard, a
+multilingual font which attempts to revive the most common printing style
+of early 20\textsuperscript{th} century. Old Standard has two main
+purposes: it is intended to be used as a specialized font for philologists
+(mainly classicists and slavists) and also as a general-purpose font for
+typesetting various editions in languages which use Greek or Cyrillic
+script. For this reason Old Standard provides glyphs for a wide range of
+Latin, Greek and Cyrillic characters.
+
+\section{Origin and Design}
+
+Old Standard was first intended as a digital version of
+\textit{Обыкновенная} (Standard) typeface found in the following font
+catalogues printed in the Soviet Union:
+
+\begin{figure}
+
+\centerline{\XeTeXpicfile "stand-su.png" width 160mm}
+
+\caption{The regular version of the Russian “Standard” typeface from the
+1966 font catalogue}
+
+\label{fig:stand-su}
+
+\end{figure}
+
+\begin{otherlanguage}{russian}
+
+\begin{itemize}
+
+\item Каталог ручных и машинных шрифтов. М.: Книга, 1966.
+
+\item Каталог ручных шрифтов и наборных украшений. Харьков: Прапор, 1973.
+
+\end{itemize}
+
+\end{otherlanguage}
+
+That’s where the name originates from: I have have only added “Old” to
+stress the difference from \textit{Обыкновенная Новая} (“New Standard”)~—
+another, a bit similar and yet quite different typeface, much more
+popular in the Soviet typography. Currently there is a good digital version
+of New Standard, available from \href{http://www.paratype.ru}{Paratype},
+so I was not planning to reproduce it.
+
+Later, however, I realized that the \textit{Обыкновенная} typeface, as it
+was used in Soviet printing of the second half of the
+20\textsuperscript{th} century, is not an independent family, but rather a
+bunch of various sets inherited from pre-1917 Russian typography. So I had
+to improve the initial design basing mainly on various Russian and German
+editions of the late 19\textsuperscript{th} and early
+20\textsuperscript{th} centuries, mainly manuals of ancient languages and
+editions of classical (Greek and Latin) authors, where I could find good
+examples of Latin, Greek, and, in case of Russian books, also Cyrillic
+letters, used alongside. I have also brought the following font catalogue,
+which, unlike later Soviet catalogues, contains examples of several
+“Standard” typefaces, so that I could compare the letterforms and select
+those I considered the most elegant:
+\foreignlanguage{russian}{Государственный трест ВСНХ «Полиграф». Образцы
+шрифтов. М., 1927}.
+
+Thus the current version of Old Standard doesn’t reproduce any particular
+typeface, but rather attempts to revive the general style of the early
+20\textsuperscript{th} century typography (mostly Russian and German).
+Nevertheless, I have decided to keep the initial name: of course, it
+doesn’t look very original, but seems to be a good choice for a lettertype
+which was once so common that no special name was associated with it
+(typefaces of this style are usually called just “Standard” or “Modern” in
+old font catalogues).
+
+\section{Greek font design}
+
+The Greek characters in Old Standard require a separate note. The upright
+letters follow the style first introduced by famous French typecutter
+Firmin Didot and then widely used in various editions both in Greece itself
+and many other European countries. It would be no exaggeration to state that
+the most part of Greek editions printed in continental Europe for more than
+100 yers was set with Didot faces. So it is no wonder that digital versions
+of this design have already been created by several type foundries. However
+almost all these fonts either cover just the Greek script and provide no
+support for Latin (not to say Cyrillic) characters, or combine Didot's Greek
+design with a stylistically incompatible (usually Times-styled) Latin face.
+Most of them (even some hightly overpriced commercial products) also
+don't meet my quality standards.
+
+\begin{figure}[htb]
+
+\centerline{\XeTeXpicfile "didot-fr.png" width 160mm}
+
+\caption{An excerpt from a French edition typeset with a Didot face. The
+example is taken from: Les hanrangues de Démosthène. Text grec publié
+d’après les travaux les plus récents de la philologie avec un commentaire
+critique et explicatif, une introduction générale et des notices sur chaque
+discours par Henri Weil. Deuxieme édition entèrement revue et corrigée.
+Paris, 1881.}
+
+\hypertarget{fig:didot-fr}{}\label{fig:didot-fr}
+
+\end{figure}
+
+A notable exception is
+\href{http://www.greekfontsociety.org/pages/en\_typefaces.html}{GFS Didot},
+now available for free from \href{http://www.greekfontsociety.gr/}{Greek
+Font Society}. Unlike many others, the designers of this font did care about
+a matching Latin face, but, surprisingly, their choice has nothing to do
+with the classicist style: instead, they implemented their font as an
+accompanying Greek family for Adobe Palatino. For this reason the proportions
+and metrics of GFS Didot are quite different from those of original Greek
+Didot; in particular ascenders and descenders are significantly shorter.
+The Unicode version now comes with its own Latin alphabet, but, again, it
+is based mostly on the Palatino design, although some glyph features are
+adapted to the geometrical shapes of Greek capitals. The resulting font
+may be very elegant, but, again, it is not suitable to reproduce the authentic
+look of old editions, and essentally should have not been called Didot
+due to a different style of its Latin part.
+
+\begin{figure}[htb]
+
+\centerline{\XeTeXpicfile "didot-de.png" width 160mm}
+
+\caption{A modification of the Didot style, used in German editions. The
+example is taken from: Herodoti Historiae. Recensuit Henricus Stein. Tomus
+II. Berolini, 1871. P.~318.}
+
+\hypertarget{fig:didot-de}{}\label{fig:didot-de}
+
+\end{figure}
+
+It should also be noted that the historic Didot style had several variations;
+in particular its \hyperlink{fig:didot-de}{German version} (popular also in
+Russia) is slightly different from the \hyperlink{fig:didot-fr}{font used in
+French editions of the same time}. Old Standard seems to be the only digital
+typeface which follows mostly the German and Russian understanding of the
+Didot style, although for some characters (e.~g. Greek circumflex) I have
+preferred French forms, considering them more elegant.
+
+\begin{figure}[htb]
+
+\centerline{\XeTeXpicfile "teubner.png" width 160mm}
+
+\caption{An example of the Teubner Greek font, taken from: Herodotus für
+den Schulgebrauch erklärt. Von Dr. K.~Abicht, Direktor des Gymnasiums zu
+Ols. Vierter Band. Buch~VIII. Dritte verbesserte Auflage. Leipzig, 1882.
+S.~192.}
+
+\hypertarget{fig:teubner}{}\label{fig:teubner}
+
+\end{figure}
+
+Designing an italic style for a Greek typeface represents a separate
+problem. Most modern implementations of Greek Didot are accompanied with
+italic versions obtained by applying a slant to the upright glyphs. I have
+chosen a different solution: instead of creating a slanted version of
+the Didot family (completely unknown to the traditional typography), I have
+based my italics on various cursive Greek fonts actually used in the German
+typography of the early 20\textsuperscript{th} century. The most elegant of
+those fonts was the face used by the famous Teubner publishing house in
+Leipzig for their editions of classical authors.
+
+Surprisingly, until recently nobody has attempted to implement a digital version
+of the \hyperlink{fig:teubner}{Teubner Greek font}, and this is a pity,
+because Teubner editions are still considered a model of fine Greek
+printing in Germany, Russia and, I think, many other European countries,
+exactly like the Loeb classical library in the Anglo-American world. It
+should be noted here that the actual Teubner typeface is sometimes
+confused with another cursive Greek font, also called “λιπσιακό” in Greece,
+which does have some digital implementations, in particular Monotype Greek
+91 and the grml/grbl fonts which Claudio Beccari has designed to provide a
+matching italic font for his CB Greek package. Indeed, a similar font was
+sometimes used in Leipzig editions (mainly for headings), but it is quite
+different from the standard text face these editions are set with.
+
+I should admit however, that even Old Standard Italic doesn’t provide an
+authentic reproduction of the Teubner font. The problem is that the Greek
+letters used in Leipzig editions are a bit bolder than their accompanying
+Latin face, so that it was really difficult to bring them into a better
+correspondence with Latin and Cyrillic glyphs. That’s why I had to consider
+also some less elegant, but lighter Greek typefaces used by other printing
+houses in Germany at the same time. I hope however that the general style
+of the Teubner font is preserved, so that anybody who likes Leipzig
+editions of classical authors will like Old Standard as well.
+
+\chapter{Installation and Usage}
+\thispagestyle{empty}
+
+\section{Obtaining Old Standard}
+
+If you are reading this document, then you probably have already downloaded
+Old Standard. You may check if you have the most recent version by visiting
+the following page at the Thessalonica web site:
+
+\href{http://www.thessalonica.org.ru/en/fonts.html}
+{\texttt{http://www.thessalonica.org.ru/en/fonts.html}}
+
+This page contains information about all font projects I am currently
+developing and download links.
+
+%You may download Old Standard either as a standalone package, or with
+%Thessalonica for Microsoft Word 97/2000/XP/2003~— my utility designed to
+%simplify the multilingual input in this word processor.
+
+\section{Which format to prefer?}
+
+The Old Standard font family is currently available in two formats, so that
+before downloading fonts you should consider with which software you are
+planning to use them:
+
+\begin{description}
+
+\item[\XeTeXpicfile "truetype.png"] TrueType fonts, or, more precisely,
+\hyperlink{OT}{OpenType} fonts with TrueType outlines. These fonts use the
+file extension *.ttf, and under Windows they appear in a folder or on a
+disk using a dog-eared page icon with two overlapping “T’s” (for
+TrueType);
+
+\item[\XeTeXpicfile "opentype.png"] \hyperlink{OT}{OpenType} fonts with
+PostScript outlines (also called OpenType-CFF), with an *.otf extension.
+The Windows icon for a PostScript-flavored OpenType font is a dog-eared
+page icon with an “O” (for OpenType).
+
+\end{description}
+
+It is worth pointing out, that, despite of the old “TT” icon used by
+Windows to represent them, the TrueType fonts actually support the
+same set of advanced \hyperlink{OT}{OpenType} features as their
+OpenType-CFF counterparts (see \autoref{i18n} for information on
+how to take advantage of those features).
+
+Note that you can install both TrueType and OpenType-CFF versions
+alongside, as they use different naming conventions (the TrueType fonts
+have a “TT” suffix in their names). However, in most cases you will
+probably prefer the TrueType fonts, as this format was introduced long
+time ago and now is widely supported on various platforms and operational
+systems.
+
+OpenType-CFF is a relatively new font format, which is sometimes preferred
+over TrueType for the purposes of the desktop publishing. A system-level
+support for this font format was first introduced in Windows 2000, but in
+practice it was poorly supported by Microsoft software until Office 2003
+was released. In particular, before Office 2003 one could not use
+OpenType-CFF fonts to input a non-Latin text in Microsoft Word, although it
+was possible to apply them to an existing text. Even now some problems
+still persist: the most important one is that in most applications
+\textit{kerning}\footnote{Kerning is the adjustment of space between pairs
+of letters, especially by placing two characters closer together than
+normal. Kerning makes certain combinations of letters, such as WA, MW, TA
+or VA, look better. Kerning data is specific for each particular font and
+for this reason is normally specified in the font file; carefully designed
+fonts normally have a large number of kerning pairs.} will work only for
+the first 256 characters in the font. Of course this means that you can get
+kerning working neither for Greek nor for Cyrillic letters. The only
+exception are Adobe’s desktop publishing applications (InDesign,
+Illustrator, Photoshop), which don’t have this problem and provide a really
+good support for OpenType-CFF fonts. I hope the situation will change in
+future, but now I can recommend installing the OpenType-CFF versions under
+Windows only if you a planning to use them with the Adobe software.
+
+You can install OpenType-CFF fonts also in Unix-like systems (since this
+format is supported by the FreeType library), but be aware that here you
+can face even more problems than under Windows. The worst thing is that
+OpenOffice.org currently can’t access OpenType-CFF fonts at all, although
+this issue was already several times reported to the developers. Some
+other applications have no such problem, but they are still unable to
+access OpenType kerning information. The exceptions are rare: the only GUI
+application which allows to take a full advantage of the OpenType-CFF fonts
+is Scribus, an open source desktop publishing system. You can also use
+OpenType fonts with the Linux port of
+\href{http://scripts.sil.org/xetex}{\XeTeX}~— the Unicode version of the
+\TeX{} typesetting system. In particular this manual was set with \XeTeX{}
+and the OpenType-CFF versions of the fonts.
+
+\section{Source Package}
+
+You also can download the FontForge sources of the Old Standard font family.
+Of course this package may be useful for you only if you have the
+\href{http://fontforge.sourceforge.net}{FontForge} font editor, as well
+as some other font editing utilities, and know how to use them.
+Note that downloading the source package may make a sense for you only
+if you are going to apply some modifications to the original files, i.~e.
+to prepare your own version of the fonts. Please consult the
+\hyperlink{license}{Terms of Use} section of this document to see which
+license conditions should be met when distributing such derivative works.
+
+Sometimes I am getting e-mails from packagers of Linux distributions
+asking if they could build Old Standard from sources just like they used to
+do for application executables. Well, I can't prohibit this (as the fonts
+are available under a free license and even the name itself is not reserved,
+as explained \hyperlink{license}{below}) but \textbf{I strongly discourage
+doing so}. The reason is that, despite the common name, font sources aren't
+very much like application sources, and similarly TTF or OTF fonts have very
+few common with compiled programs. When an application is built from sources,
+the resulting files are usually suitable only for a particular platform or
+system and cannot be used in other environments. Fonts represent just an
+opposite case: font sources are specific for a particular font editing
+application, while the output files are suitable for various platforms and
+can be easily disassembled/opened/edited.
+
+This means rebuilding fonts from sources will not give you any productivity
+improvements, but you can easily lose some functionality (e. g. because
+your FontForge version doesn't work exactly like one I used to build the
+original font files). That's why I can recommend this approach only of you
+know what are you doing and your intent is to apply some real changes/
+improvements to the font sources.
+
+\section{System Requirements}
+
+\subsection{Windows}
+
+Old Standard is a large Unicode font.
+
+For Windows, you need at least Windows 95 (or at least Windows 2000 for the
+PostScript-flavored OpenType fonts) and a word processor that can handle
+Unicode-based documents: either Microsoft Word 97~/ 2000~/ 2002~(=~XP)~/
+2003~/ 2007 or OpenOffice.org 1.0 or above. For more information about
+OpenOffice.org, a full-featured, open-source cross-platform suite
+comparable to Microsoft Office that is attracting considerable interest
+these days, see
+\href{http://www.openoffice.org}{\texttt{http://www.openoffice.org}}.
+
+You will also need a way to enter the Unicode characters that are not
+directly accessible from standard keyboards. Remember that you can browse
+the contents of any font and copy characters to the clipboard by using the
+Character Map utility that comes with Windows. Character Map does not
+support Unicode values beyond the Basic Multilingual Plane; an excellent
+alternative is Andrew West’s
+\href{http://www.babelstone.co.uk/Software/BabelMap.html}{BabelMap}
+(free). Some applications also provide their own mechanisms for entering
+characters, such as Insert→Symbol in MS Word or Insert→Special Character
+in OpenOffice.org. In Microsoft Office applications you can also enter
+a Unicode character by typing its hexadecimal number followed by
+\texttt{ALT-x}.
+
+Of course inputting Unicode characters via a character table or accessing
+them directly by their hexadecimal codes has some significant
+disadvantages: first, it is relatively slow and so may be used only for
+characters which you need relatively rare, and second, it may be
+recommended only for experienced users, since Unicode includes a lot of
+similar characters, which, however, are intended for different purposes, so
+that sometimes it is difficult to make the correct choice without
+consulting the documentation. So normally you will need a special keyboard
+utility allowing to input characters needed for the language of your
+choice. Some custom keyboard layouts for such languages as Classical Greek
+are provided by my \href{http://www.thessalonica.org.ru}{Thessalonica}
+package. Alternatively, you may use
+\href{http://www.tavultesoft.com/keyman/}{Tavultesoft Keyman}~— the
+leading keyboard mapping utility, providing an extensive range of features.
+There is a large number of keyboard layouts already designed for
+Tavultesoft Keyman, so you probably just have to check
+\href{http://www.tavultesoft.com/keyman/downloads/keyboards/}{the list of
+available keyboard} to select one or more which are suitable for your
+needs.
+
+\subsection{Linux and X11 Windowing Environment}
+
+Most Unix-like systems now use the same basic framework, called X Window
+System (commonly X or X11) to build graphical user interfaces. This means
+that all issues related with font installation and usage are basically the
+same, no matter, if you use Linux, BSD, Solaris or some other system. In
+order to be able to handle TrueType or OpenType fonts your system should
+have the \href{http://freetype.sourceforge.net}{freetype} library installed
+and enabled; this is normally done by default in all modern distributions.
+As under Windows, you will need a Unicode-aware word processor. Presumable
+you will do most of your work in OpenOffice.org; other, less powerful word
+processors, like AbiWord or KWord, support Unicode as well.
+
+As under Windows, you may input Unicode characters using either a character
+map utility (both the most full-featured X11-based desktop environments,
+KDE and Gnome, include such utilities, comparable with the Windows
+Character Map), or a special keyboard driver. Again, you can try
+\href{http://www.thessalonica.org.ru}{Thessalonica} for OpenOffice.org.
+Another good choice is \href{href://kmfl.sourceforge.net}{kmfl}~— a
+keyboarding input method which aims to bring Tavultesoft Keyman
+functionality to *nix operating systems. KMFL is being jointly developed by
+\href{http://www.sil.org}{SIL International} and
+\href{http://www.tavultesoft.com}{Tavultesoft}. Note that KMFL is not
+available by default in some popular Linux distributions, so that
+you may have to compile, install and configure it yourself. This task
+is a bit difficult for an average user, but the result surely worth
+efforts.
+
+\section{Installation Instructions}
+
+\subsection{Windows}
+
+Font installation under Windows is simple. You can install Old Standard as
+you would any TrueType or OpenType-CFF font by placing the font files to
+the Windows \texttt{fonts} folder. To do that:
+
+\begin{enumerate}
+
+\item Go to the Windows Control Panel and open the “Fonts” applet;
+
+\item On the File menu, select “Install New Font\ldots”;
+
+\item Switch to the drive and directory that contain the fonts you want to
+add;
+
+\item To select more than one font to add, press and hold down the CTRL
+key, click the fonts you want, then click on OK.
+
+\end{enumerate}
+
+You may need to restart some applications before they can access the fonts
+you have just installed.
+
+\subsection{Linux and X11}
+
+Currently there are no prepackaged RPM or DEB files for Old Standard, but,
+of course, you can always install the fonts manually, which is actually not
+so complex task with modern Linux distributions. A tricky part is related
+with the fact that there are actually two engines responsible for font
+installation and handling in X11 environment:
+\href{http://www.fontconfig.org}{fontconfig} and an older X11 engine. Since
+fontconfig is used by almost all recent applications (including those
+based on GTK2 and QT4), in most cases it is sufficient to install fonts
+via fontconfig (this is the only option in case of OpenType-CFF fonts). On
+most distributions you can do that just by placing the font files to your
+\texttt{~/.fonts} directory. After that you may need to run
+
+\texttt{\$ fc-cache}
+
+\noindent from your command line to update your fontconfig configuration.
+You can also use a graphical font installation tool provided by KDE (the
+most powerful graphical desktop environment for X11), but be aware that
+this tool actually does just the things described above, i.~e. copies the
+fonts to the appropriate directory and runs \texttt{fc-cache}.
+
+However, if you want to make TrueType fonts accessible to some older X11
+applications, then additional steps are required:
+
+\begin{enumerate}
+
+\item Find the place in your directory tree where your X stores TTF fonts.
+The usual place is \texttt{/usr/X11R6/lib/X11/fonts/truetype} and the
+subdirectories therein;
+
+\item create under that location a subdirectory for the fonts you are going
+to install, for example:
+
+\texttt{\$ mkdir /usr/X11R6/lib/X11/fonts/truetype/oldstand}.
+
+You should become root to do that. Then copy the *.ttf files there:
+
+\texttt{\$ cp *.ttf /usr/X11R6/lib/X11/fonts/oldstand/};
+
+\item switch to the directory where you have just copied the font files and
+run the following commands:
+
+\texttt{\$ ttmkfdir > fonts.scale}
+\texttt{\$ mkfontdir}
+
+\item Now the hardest part: we have to inform your X server about the path
+where the recently installed fonts are placed. This can be done by
+two ways:
+
+\begin{enumerate}
+
+\item in most distributions fonts are managed directly by the X11 system.
+In this case the information about font paths is stored in the main X11
+server configuration file, which is located under \texttt{/etc/X11} and
+may be called \texttt{xorg.conf}, \texttt{XF66Config} or
+\texttt{XF86Config-4} depending from your distribution and the version of
+the X11 server it uses. So open that file in your favorite text editor,
+and add the following line to the “Files” section:
+
+\texttt{FontPath "/usr/X11R6/lib/X11/fonts/oldstand/"};
+
+\item some Linux distributions (\href{http://www.altlinux.ru}{Alt Linux} in
+particular) handle fonts using a special X Font Server (xfs). You can
+easily determine if your distribution belongs to this second group, as in
+this case the only “FontPath” element in your \texttt{xorg.conf} or
+\texttt{XF86Config} will look as follows:
+
+\texttt{FontPath "unix/:-1"}
+
+If you have noticed such a line in your main X11 configuration file, you
+should keep it untouched and instead edit the \texttt{/etc/X11/xfs/config}
+file and add the new font path there.
+
+\end{enumerate}
+
+\item Finally, if everything is done correctly, the fonts will be
+accessible for X11 applications when you restart your X Server. However,
+you can also activate your new fonts immediately. Again, this can be done
+by two ways:
+
+\begin{enumerate}
+
+\item if your system doesn’t use xfs, then you should execute the following
+commands:
+
+\texttt{\$ xset fp+ /usr/X11R6/lib/X11/fonts/oldstand/}
+
+\texttt{\$ xset rehash}
+
+\item otherwise you have to restart your X Font Server. Usually this
+can be done by executing
+
+\texttt{\$ service xfs restart}
+
+\end{enumerate}
+
+\end{enumerate}
+
+\subsection{OpenOffice.org}
+
+Under MS Windows OpenOffice.org just uses system-wide installed fonts, but
+Unix versions have their own font administration utility, inherited from
+the dark times when no suitable engine that would be able to properly
+handle scalable fonts existed at the X11 level. Normally OpenOffice.org can
+automatically detect X11 fonts and add them to its configuration (so no
+additional steps are required), but sometimes it fails to find them. In this
+case you should let OpenOffice.org know about your new fonts using the
+\texttt{spadmin} utility. You can either run this tool manually from your
+OpenOffice.org directory, or select the “OpenOffice.org printer administration”
+GUI menu item in KDE or Gnome (you should close any open OpenOffice.org
+instances before you can do this). When the \texttt{spadmin} window appears,
+do the following:
+
+\begin{figure}[htb]
+
+\centerline{\XeTeXpicfile "spadmin.png" width 160mm}
+
+\caption{The OpenOffice.org printer administration utility: main window}
+
+\hypertarget{fig:spadmin}{}\label{fig:spadmin}
+
+\end{figure}
+
+\begin{enumerate}
+
+\item click on the “Fonts...” button;
+
+\item click on "Add...;
+
+\item look for the directory where the fonts are installed\\ (e.~g.
+\texttt{/usr/share/fonts/truetype/oldstand/}), as \autoref{fig:spadmin-add}
+shows;
+
+\begin{figure}[htb]
+
+\centerline{\XeTeXpicfile "spadmin-add.png" width 140mm}
+
+\caption{Adding new fonts to OpenOffice.org via spadmin}
+
+\hypertarget{fig:spadmin-add}{}\label{fig:spadmin-add}
+
+\end{figure}
+
+\item Click on “Select all”;
+
+\item Click on OK.
+
+\end{enumerate}
+
+When you restart OpenOffice.org, the fonts should be available to its
+applications.
+
+\subsection{TeX systems}
+
+Adding new fonts to a \TeX{} installation is always difficult for an
+average user, as in order to use a font with \TeX{} typesetting system one
+has to generate many additional files, \TeX{} font metrics files (TFM) in
+particular. Yet I still haven’t provided a \TeX{} support package for Old
+Standard, mainly because Old Standard currently has only three shapes
+(regular, italic and bold), and thus such a package would have very limited
+functionality from the \TeX{} point of view. However, you can easily use
+Old Standard (as well as any other TrueType or OpenType-CFF font) in your
+\TeX{} documents without any additional steps if you install
+\href{http://scripts.sil.org/xetex}{\XeTeX}~— a Unicode enabled version of
+the \TeX{} compiler, currently actively developed by
+\href{http://www.sil.org}{SIL international}.
+
+\XeTeX{} has many other advantages over traditional \TeX{} compilers, as it
+combines the full Unicode support with a very good support of advanced
+\hyperlink{OT}{OpenType} features. In particular, this manual (including
+all examples demonstrating smart font rendering features available in Old
+Standard) was typeset with \XeTeX.
+
+\section{Terms of use}
+\hypertarget{license}{}
+
+The current version of Old Standard is distributed under the
+\href{http://scripts.sil.org/OFL}{SIL Open Font License} (OFL) v.~1.1. I have
+selected OFL for my typeface because it is the only known license developed
+specially for fonts, which meets the standards of the FLOSS (Free/Libre and
+Open Source Software) community, in particular the Debian Free Software
+Guidelines. Both the text of the license itself and the OFL FAQ are
+included into the fonts package, so I don’t reproduce them here. Basically
+licensing under OFL means that you can freely use, copy, modify and
+distribute the fonts, as long as the terms of the license are not violated.
+In particular you are not allowed to remove the original copyright notices
+from the font software and to change licensing conditions (i.~e. distribute
+either original or modified versions under a different license). One more
+significant restriction is that you can’t sell the fonts alone (however
+OFL allows to bundle and sell them together with any other software, either
+free or commercial).
+
+A large part of OFL is devoted to so-called Reserved Font Names which can't
+be used in derivative works without a written permission of the original
+author. However there are no Reserved Font Names specified for Old Standard.
+This is because I think I can't prohibit anybody from using such common
+words as “Old” or “Standard” in their font names. In fact I even encourage
+you to base names of your modified versions on the original one, so that
+the user can easily determine where the main design comes from. For example,
+if you have modified Old Standard in order to get Serbian Cyrillic glyphs
+displayed by default instead of Russian ones, it might be logical to call
+your version “Old Standard Serbian”. It is still desired however that you
+don't take the original name as is, but add some suffix specific for your
+version.
+
+Note that this manual is NOT covered by SIL OFL, but distributed under the
+\href{http://gnu.mirror.fr/licenses/fdl.html}{GNU Free Documentation
+license}. See \autoref{FDL} for more information.
+
+\section{Acknowledgments}
+
+I would like to thank:
+
+\begin{itemize}
+
+\item George Williams for his excellent
+\href{http://fontforge.sourceforge.net}{FontForge} program, and
+especially for his responsiveness in fixing bugs and adding new features.
+Without his assistance this package would never be released!
+
+\item Peter Baker for his \href{http://xgridfit.sourceforge.net}{xgridfit}
+utility, which provides a good Open Source solution for adding TrueType
+instructions to a font, and also for valuable information on the design of
+the Middle English letter yogh he provided;
+
+\item Tavmjong Bah (Tav), who kindly granted me his Perl scripts (originally
+written for his \href{http://tavmjong.free.fr/FONTS/}{Arev fonts}) used to
+convert separate kerning pairs defined in a FontForge source file into
+kerning classes;
+
+\item \href{http://canopus.iacp.dvo.ru/~panov/}{Andrew Panov} for valuable
+remarks on the design of mathematical characters and scanned images he
+provided.
+
+\end{itemize}
+
+\chapter{Multilingual Support, Unicode and OpenType}
+\hypertarget{i18n}{}\label{i18n}
+\thispagestyle{empty}
+
+\section{Unicode coverage}
+
+\subsection{General principles}
+
+Since Old Standard is a multilingual font family, I will always do my best
+to extend the range of supported characters, thus providing support for
+more languages. Nevertheless, I would like to protect my typeface from some
+problems shared by many similar free font projects. The developers of those
+fonts are often attempting to cover the widest possible number of scripts
+and Unicode blocks, even if the Unicode
+\href{http://www.unicode.org/charts}{code charts} is the only source of
+their knowledge about the design of a specific character. Of course, the
+resulting glyphs not always look really acceptable for actual typesetting.
+Moreover, due to the lack of time and resources the designers are often
+unable to keep all glyphs at the same quality level: for example, we often
+can see autogenerated accented characters with mispositioned diacritics. In
+particular, there are so many fonts which are claimed to support the
+extended Greek range, but actually are not suitable for typesetting
+classical Greek\ldots{} Another common problem is that only the regular
+version of each particular font is really actively developed, while all
+additional weights and shapes fall far behind it (e.~g. support much less
+Unicode characters).
+
+That’s why I have formulated for myself several principles which I am
+always trying to follow when designing additional glyphs:
+
+\begin{itemize}
+
+\item I shall never add any new characters just for completeness, i.~e. to
+get a specific Unicode range fully covered. Before drawing a new glyph I
+must ensure that I really understand its intended purpose and the
+principles of its design;
+
+\item since Old Standard is supposed to reproduce the actual printing style
+of the early 20\textsuperscript{th} century, I shall avoid implementing new
+characters basing just on general considerations. Ideally, all glyphs
+should be based on real examples taken from some old editions. Of course,
+exceptions from this rule are sometimes necessary, as many characters were
+first introduced only in 20\textsuperscript{th} century, or even never
+existed in traditional typography before they were adopted by the Unicode
+standard;
+
+\item I shall try to develop all font styles (currently regular,
+italic and bold) only simultaneously, i.~e. if a specific character is added
+to the regular font, it should also be designed for italics and bold. The
+exceptions are allowed for glyphs which don't have dedicated codepoints
+and supposed to be accessible via smart font features, as well as for those
+characters which have no corresponding italic or slanted style (this is the case
+of many mathematical symbols).
+
+\end{itemize}
+
+\subsection{Character repertoire}
+
+Currently the following Unicode ranges are fully or partially covered by
+Old Standard:
+
+\begin{description}
+
+\item[Basic Latin (0000–007F)] Fully supported.
+
+\item[Latin 1 Supplement (0080–00FF)] Fully supported.
+
+\item[Latin Extended-A (0100–017F)] Fully supported.
+
+\item[Latin Extended-B (0180–024F)] Old Standard implements two groups of
+characters from this block, namely several letters needed for various Old
+Germanic languages and Croatian accented characters and digraphs.
+
+\item[IPA Extensions (0250–02AF)] From this range Old Standard currently
+implements a few characters which can be used in other contexts, except IPA.
+One such example is U+0280 LATIN LETTER SMALL CAPITAL R, needed for the
+transliteration of Old Norse runic inscriptions.
+
+\item[Spacing Modifier Letters (02B0–02FF)] Old Standard implements spacing
+versions of some combining diacritical marks, available in the next block.
+
+\item[Combining Diacritical Marks (0300–036F)] Most standard accents,
+commonly used in various European languages, are supported.
+
+\item[Greek and Coptic (0370–03FF)] Almost fully covered, except Coptic
+letters, editorial signs and some archaic characters, recently added to
+Unicode. These characters are rarely used and there is no stable tradition
+of their typographic representation. However, if you really need them,
+write me and I’ll add them for you.
+
+\item[Cyrillic (0400–04FF)] Old Standard implements all modern Slavic
+(i.~e. Russian, Uk\-rai\-nian, Byelorussian, Serbian and Macedonian)
+characters, as well as historical characters and extensions for Old
+Slavonic.
+
+\item[Phonetic Extensions (1D00–1D7F)] Only one character (U+1D79 LATIN
+SMALL LETTER INSULAR G) is implemented. Note that the uppercase version
+of this letterform is now encoded in Latin Extended-D range.
+
+\item[Latin Extended Additional (1E00–1EFF)] Old Standard implements
+accented combinations with W for Welsh and LATIN CAPITAL LETTER SHARP S
+(U+1E9E) for German.
+
+\item[Greek Extended (1F00–1FFF)] Fully supported.
+
+\item[General Punctuation (2000–206F)] Almost fully supported, although
+some characters, which might be of some interest for philologists, are
+still missing. Report me if you need them.
+
+\item[Superscripts and Subscripts (2070–209F)] Subscript and superscript
+forms of digits and math operators (but not letters), available in this
+block, are covered.
+
+\item[Currency Symbols (20A0–20CF)] The EURO SIGN U+20AC.
+
+\item[Letterlike Symbols (2100–214F)] In this block Old Standard implements
+a few characters, belonging to the following two categories: first, a few
+standard symbols, present in most Western or Cyrillic fonts (in particular
+NUMERO SIGN U+2116, TRADE MARK SIGN U+2122 and OHM SIGN U+2126), and second,
+some characters which may be useful for textual criticism (such as Fraktur ℭ
+and ℌ).
+
+\item[Number Forms (2150–218F)] Fully covered.
+
+\item[Mathematical Operators (2200–22FF)] This block is far from being
+finished, and yet it already includes (I hope) all symbols which are most
+commonly used in mathematical typesetting.
+
+\item[Miscellaneous Technical (2300–23FF)] In this block Old Standard
+implements angle brackets U+2329 and U+232A (these characters should
+probably be avoided: use “mathematical” angle brackets at U+27E8/U+27E9
+instead) and ancient metrical symbols (23D1—23D9).
+
+\item[Geometric Shapes (25A0–25FF)] Old Standard implements only a few of
+these symbols, for compatibility with legacy fonts and charsets.
+
+\item[Miscellaneous Mathematical Symbols-A (27C0–27EF)] Old Standard
+implements mathematical angle, square and double angle brackets (useful
+also for critical text editions).
+
+\item[Supplemental Mathematical Operators (2A00–2AFF)] In this block I have
+implemented only a few characters, in particular alternate “less than” and
+“greater than” symbols with a slanted bar, which actually where preferred
+forms in the traditional European typesetting before the arrive of modern
+standards.
+
+\item[Cyrillic Extended-A (2DE0–2DFF)] Fully covered.
+
+\item[CJK Symbols and Punctuation (3000–303F)] Again, Old Standard includes
+angle and square brackets at U+3008/U+3009 and U+301A/U+301B
+correspondingly, as some people have used to use them for textual
+criticism. Nevertheless “mathematical” versions of those characters (see
+above) should probably be preferred for their purposes.
+
+\item[Cyrillic Extended-B (A640–A69F)] Old Standard implements letters and
+signs for Old Cyrillic (but not letters for old Abkhasian orthography).
+
+\item[Latin Extended-D (A720–A7FF)] LATIN CAPITAL LETTER INSULAR G (U+A77D)
+and Ancient Roman epigraphic letters.
+
+\item[Private Use Area] This block includes many different glyphs, but it
+is not recommended to use them directly. Instead, you should access them
+by applying various OpenType features (see \autoref{OT} for more
+information), if only your application allows this.
+
+\item[Alphabetic Presentation Forms (FB00–FB4F)] In this block the standard
+Latin f-ligatures are available.
+
+\item[Math Alphanumeric Symbols (1D400–1D7FF)] Old Standard includes a few
+Fraktur letters, useful for critical editions of ancient/biblical texts.
+This block is far from being complete (and I am not planning to implement
+the whole alphabet anyway); however, it already includes all characters
+which appear in the Nestle---Aland New Testament.
+
+\end{description}
+
+\subsection{TODO}
+
+As you can see, still lots of characters are waiting to be implemented.
+Since Old Standard is oriented mainly to historians and philologists, I am
+especially interested in adding those characters which might be useful for
+textual studies and studying various ancient languages. Here are some
+priorities:
+
+\begin{itemize}
+
+\item Some characters useful for medievalists are still missing from the
+Latin Extended-B range;
+
+\item Some accented characters from the Latin Extended Additional range
+(the first part, 1E00-1E9F), useful for Indic and Semitic transliterations.
+However, currently you already can type almost anyone of those characters
+using combining diacritical marks, if only your application supports smart
+accent positioning (as Microsoft Word 2003 for example);
+
+\item Some IPA characters (at least those needed for English phonetic
+transcription);
+
+\item Supplemental Punctuation (2E00—2E0D) and New Testament editorial
+symbols in particular. Again, I need some good examples showing these
+characters used in editions of the pre-computer era;
+
+\item A large group of medievalist additions has been adopted in Unicode~5.1.
+Of course it would be nice to implement them in Old Standard.
+
+\end{itemize}
+
+Currently I have no plans of providing support for any other scripts except
+Latin, Greek and Cyrillic, as there are other needs that are much higher
+priority. It is also very unlikely that I can implement small capitals and
+some other nice typographic features in the near future, although it would
+be really nice to have them supported.
+
+\subsection{How you can help}
+
+If you would like to get a specific character available in Old Standard,
+then probably the best help you can offer is to provide some high
+resolution (normally 600dpi) scans showing you character used in an old
+book, where the rest of text is set with a Modern typeface (this condition
+is especially important for additional Latin letters). If it is impossible
+to find such examples (e.~g. because your character had not yet been
+introduced at the time when Modern typefaces were popular), then at least
+provide a clear description on how it should be designed (or point me to a
+such description). Also remember that, except the upright character, I will
+have to implement also an italic version, and the design of italic glyphs
+may often require additional notes.
+
+Of course you can also design the desired character(s) yourself and then
+contribute them to Old Standard. Such contributions are always very
+welcome, but be aware that I will review the submissions carefully in order
+to be able to guarantee a high level of quality for the fonts. Please
+don’t be discouraged if I do not include a submission for this reason, or
+ask you to make some specific revisions.
+
+\section{Smart Font Capabilities and Language Support}
+
+This section is intended to demonstrate, how Old Standard can be used for
+typesetting texts in various languages. This assumes discussing two types
+of issues: “smart” font rendering features intended to provide a better
+support for each specific language and some glyph design peculiarities. As
+the implementation of “smart” features in Old Standard is based on the
+OpenType technology, I had to start this section from a special paragraph
+about OpenType. After that the manual describes various language-specific
+details, sorting them by scripts: Latin, Greek and Cyrillic.
+
+\subsection{What is OpenType?}
+\hypertarget{OT}{}\label{OT}
+
+OpenType is a smart font rendering technology, that allows proper
+typographic treatment of complex scripts and advanced typographic effects
+for simpler scripts. This is achieved by applying various
+\textit{features}, or \textit{tags}, described in the OpenType
+specification. Some of those features are supposed to be enabled by
+default, while others are considered optional. In order to get advantage of
+all those advanced typographic features, you need two basic components: a
+“smart” font including certain extra tables, where the features applicable
+to this font are specified, and an OpenType-aware application. Not all
+applications currently support OpenType, although their number is growing.
+So before relying on any smart features provided by Old Standard or another
+typeface you should carefully examine which of those features are expected
+to work in your application, and which are not.
+
+The most popular OpenType rendering engine for Windows platform is the
+\textit{Uniscribe} library, developed by Microsoft. This library is used
+not only by own Microsoft software, but also by many other Windows
+applications, for example, the Windows version of
+\href{http://www.openoffice.org}{OpenOffice.org}. Initially Uniscribe
+supported only complex scripts (like Arabic or Devanagari), but the most
+recent versions, supplied with Microsoft Windows XP SP2 and Microsoft
+Office 2003 (note that MS Office uses its own version of Uniscribe rather
+than the system library) also perform some processing for Latin, Greek and
+Cyrillic. The Uniscribe support for Western scripts is still limited:
+Microsoft Word 2003 performs only \hyperlink{mark}{accent positioning} and
+\hyperlink{ccmp}{character composition/decomposition}. On the other hand,
+the supported features are actually the most important ones, and they are
+really sufficient for proper text rendering, although without additional
+typographic niceties.
+
+Adobe’s applications (such as InDesign) use another shaping engine, called
+\textit{CoolType}, which provides access to many optional features offered
+by OpenType, such as small caps, stylistic sets and various types of ligatures.
+Old Standard currently supports some of those optional features, such as
+stylistic sets. To tell the truth, this functionality is very important from
+the point of view of a fine typography, but in most cases almost useless for
+a linguist. However beginning from the CS3 version Adobe Creativity Suite
+applications are said to support a wider range of OT features, including
+mark positioning and glyph composition/decomposition, which makes them much
+more suitable for typesetting linguistic texts when previously.
+
+In the Unix world, there are at least two free OpenType rendering
+libraries. One such library is \textit{Pango}, used in applications based
+on the GTK2 toolkit. This library currently has nearly the same
+capabilities as MS Uniscribe (although still there are some glitches).
+Another, even more powerful rendering engine is
+\href{http://icu.sourceforge.net}{\textit{ICU}}, used by \XeTeX. ICU
+properly handles virtually all features provided by Old Standard, even those
+not supported by most other rendering engines (language-dependent substitutions
+for example). Unix versions of \href{http://www.openoffice.org}{OpenOffice.org}
+also use ICU, but, unfortunately, this is not very useful for our purposes,
+as they enable complex text processing only for complex scripts.
+
+I know very little about Mac, but I have to mention that many applications for
+this platform also have a very good level of OpenType support. One such
+application is \href{http://www.redlers.com}{Mellel}, the leading word
+processor for Mac OS X, designed to serve scholars, creative and technical
+writing and multilingual word processing.
+
+\subsection{Latin Script}
+
+\subsubsection{Standard Ligatures}
+
+Old Standard currently includes 5 standard f-ligatures (namely \textit{ff,
+fi, fl, ffi} and \textit{ffl}) present in most OpenType fonts and also
+\textit{fj} and \textit{ffj} ligatures which are required for proper
+typesetting in Nordic languages. All these ligatures are accessible via the
+\texttt{liga} feature, enabled by default in most applications which
+support it (such as Adobe InDesign). Two language-dependent exceptions have
+been made from this rule, according to the common convention usually
+applied to OpenType fonts:
+
+\begin{itemize}
+
+\item Turkish, Azerbaijani and Crimean Tatar alphabets have two distinct
+versions of the letter \textit{i}, one dotted and the other dotless. For
+this reason the \textit{fi} and \textit{ffi} ligatures are not applied for
+those language systems to avoid the confusion which would be possible
+otherwise.
+
+\item No ligatures are enabled by default for German, since this language
+has very complex rules of ligature processing. You still can get them if
+you enable the \texttt{dlig} feature tag in addition to \texttt{liga}.
+
+\end{itemize}
+
+Note that the exceptions described above will work as expected only if your
+application can perform OpenType processing depending from the current
+language.
+
+\subsubsection{Combining Mark Positioning}
+\hypertarget{mark}{}
+
+One of the most attractive possibilities offered by OpenType is smart
+diacritic positioning: if you type a letter followed by a diacritic from
+the Unicode “Combining Diacritics” range, the diacritic will be placed
+exactly above or below the letter. To achieve this effect, an OpenType
+font should support the \texttt{mark} feature tag. This feature allows to
+add \textit{anchor points} both to base letters and diacritics, so that,
+when an accent mark is typed after a base character, the glyphs are
+positioned by such a way that their anchor points are coincident. Another
+type of anchor points, specified by the \texttt{mkmk} feature, is used to
+position two marks with respect to each other, so that an additional
+diacritic can be stacked properly above the first.
+
+Old Standard provides proper \texttt{mark} and \texttt{mkmk} anchor points
+for most Latin letters and combining marks, so that you can type them in
+almost any combination and the result will be visually identical with the
+corresponding precomposed accented characters (in case they are available
+in the font). Most OpenType renderers (except older versions of Adobe’s
+Cooltype library) support the corresponding feature tags, and so you can
+safely use these features in most OpenType-aware applications (MS Word 2003
+for example).
+
+\subsubsection{Unicode Composition and Decomposition}
+\hypertarget{ccmp}{}
+
+Another important OpenType feature is \texttt{ccmp}. This feature allows
+to decompose a character into two glyphs or, on the contrary, to compose
+two characters into a single glyph for better glyph processing. Often such
+substitutions correspond to canonical (de)compositions specified in the
+Unicode character database, but this is not a required condition. So if we
+would like to replace a specific glyph or a group of glyphs with another
+glyph or a group of glyphs, such replacement can almost always be
+implemented via \texttt{ccmp}: the only important limitation here is that
+this feature is not supposed to (an often just cannot) be turned off, and
+thus it should not be used for optional typographic refinements, such as
+Latin ligatures.
+
+Old Standard uses \texttt{ccmp} mainly to compose accented glyphs from an
+accent and a base character in those cases where a simple accent positioning
+would not produce the desired result. For example, the Czech alphabet has
+some accented characters (\textit{ď}, \textit{ľ}, \textit{ť}) where the
+accent is identified with the haček (caron), but actually looks like an
+apostrophe. So when you type \textit{d}, \textit{l} or \textit{t} followed
+by combining haček, Old Standard just substitutes the corresponding Czech
+character for you.
+
+There are also some situations where \texttt{mark} and \texttt{ccmp} should
+be used together to produce a better result. For example, before you can
+place an accent above letters like \textit{i} or \textit{j} you have to
+replace the base letter with a dotless variant first, and this can be done
+only with \texttt{ccmp}. For this reason all OpenType renderers which
+support accent positioning support also this feature (Word 2003 does).
+
+\subsubsection{Stylistic Sets}
+
+Stylistic sets are used to enable a group of stylistic variant glyphs,
+designed to harmonize visually, and make them automatically substituted
+instead of the default forms. OpenType allows to specify up to 20 stylistic
+sets, marking them \texttt{ss01}, \texttt{ss02}\ldots{} \texttt{ss20}. The
+following stylistic sets, currently available in Old Standard, are relevant
+for the Latin script:
+
+\begin{description}
+
+\item[ss01] This set allows to automatically substitute small and capital
+\textit{s} and \textit{t} with commaaccent (U+0218, U+0219, U+021A, U+021B)
+instead of the corresponding letters with cedilla (U+015E, U+015F, U+0162,
+U+0163), as required by Romanian typographic rules. The same substitution
+can be done automatically for Romanian and Moldavian languages, if only
+your application supports the \texttt{local} feature tag; otherwise you can
+use \texttt{ss01} instead. Of course this is important only if the glyph
+variants with commaaccent are not typed directly (which is also possible,
+as now those letterforms have separate Unicode codepoints).
+
+\begin{center}
+\LARGE
+\begin{tabular}[c]{ccc}
+
+\fontspec[Script=Latin,Color=696969]{OldStandard-Regular}
+raţiune şi conştiinţă & ⇒ &
+\fontspec[Script=Latin,Language=Romanian]{OldStandard-Regular}
+raţiune şi conştiinţă \\
+\fontspec[Script=Latin,Color=696969]{OldStandard-Regular}
+\itshape raţiune şi conştiinţă & ⇒ &\itshape
+\fontspec[Script=Latin,Language=Romanian]{OldStandard-Regular}
+raţiune şi conştiinţă \\
+
+\end{tabular}
+\end{center}
+
+\item[ss02] By enabling this feature tag you can get all occurrences of
+small and capital Latin \textit{g} automatically replaced with “insular”
+forms, sometimes preferred for typesetting Old English:
+
+\begin{center}
+\LARGE
+\begin{tabular}[c]{ccc}
+
+\fontspec[Script=Latin,Color=696969]{OldStandard-Regular}
+Gosfregð & ⇒ &
+\fontspec[Script=Latin,RawFeature=+ss02]{OldStandard-Regular}
+Gosfregð \\
+\fontspec[Script=Latin,Color=696969]{OldStandard-Regular}
+\itshape Gosfregð & ⇒ &\itshape
+\fontspec[Script=Latin,RawFeature=+ss02]{OldStandard-Regular}
+Gosfregð \\
+
+\end{tabular}
+\end{center}
+
+This stylistic set is preserved for backwards compatibility: I no longer
+recommend using it, as both capital and small insular \textit{g} now
+have dedicated Unicode codepoints, and it is probably better to type them
+directly.
+
+\end{description}
+
+\subsubsection{Sample Text Fragments in Old and Classical Languages}
+
+\paragraph{Classical Latin}
+
+Of course classical Latin is supported. Just an example:
+
+\begin{quote}
+\large
+\fontspec[Script=Latin,Language=Latin]{OldStandard-Regular}
+Gallia est omnis divīsa in partes tres, quārum unam incŏlunt Belgae, aliam
+Aquitāni, tertiam qui ipsōrum lingua Celtae, nostra Galli appellantur. Hi
+omnes lingua, institūtis, legĭbus inter se diffĕrunt. Gallos ab Aquitānis
+Garumna flumen, a Belgis Matrŏna et Sequăna divĭdit. Horum omnium
+fortissimi sunt Belgae, propterea quod a cultu atque humanitāte provinciae
+longissime absunt, minimeque ad eos mercatōres saepe commeant atque ea, quae
+ad effeminandos anĭmos pertĭnent, important, proximique sunt Germānis, qui
+trans Rhenum incŏlunt, quibuscum continenter bellum gerunt. Qua de causa
+Helvetii quoque relĭquos Gallos virtūte praecēdunt, quod fere cotidiānis
+proeliis cum Germānis contendunt, cum aut suis finĭbus eos prohĭbent aut
+ipsi in eōrum finĭbus bellum gerunt.
+
+\smallskip
+
+\itshape
+Gallia est omnis divīsa in partes tres, quārum unam incŏlunt Belgae, aliam
+Aquitāni, tertiam qui ipsōrum lingua Celtae, nostra Galli appellantur. Hi
+omnes lingua, institūtis, legĭbus inter se diffĕrunt. Gallos ab Aquitānis
+Garumna flumen, a Belgis Matrŏna et Sequăna divĭdit. Horum omnium
+fortissimi sunt Belgae, propterea quod a cultu atque humanitāte provinciae
+longissime absunt, minimeque ad eos mercatōres saepe commeant atque ea, quae
+ad effeminandos anĭmos pertĭnent, important, proximique sunt Germānis, qui
+trans Rhenum incŏlunt, quibuscum continenter bellum gerunt. Qua de causa
+Helvetii quoque relĭquos Gallos virtūte praecēdunt, quod fere cotidiānis
+proeliis cum Germānis contendunt, cum aut suis finĭbus eos prohĭbent aut
+ipsi in eōrum finĭbus bellum gerunt.
+
+\end{quote}
+
+\paragraph{Old English}
+
+The following text (a writ from William the Conqueror to the citizens of
+London, 1066) demonstrates several specific characters used in Old English.
+Note the insular “G” automatically substituted instead of the regular Latin
+“G” by applying the stylistic set 02.
+
+\begin{quote}
+\large
+
+\fontspec[Script=Latin,Language=English,RawFeature=+ss02]{OldStandard-Regular}
+Will(el)m kyng gret Will(el)m bisceop and Gosfregð portirēfan and ealle þā
+burhwaru binnan Londone, Frencisce and Englisce, frēond\-līce. And ic kȳðe ēow
+þæt ic wylle þæt get bēon eallre þǣra laga weorðe þē gyt wǣran on Eadwerdes
+dæge kynges. And ic wylle þæt ǣlc cyld bēo his fæder yrfnume æfter his
+fæder dæge. And ic nelle geþolian þæt ǣnig man ēow ǣnig wrang bēode. God
+ēow gehealde!
+
+\smallskip
+
+\itshape
+Will(el)m kyng gret Will(el)m bisceop and Gosfregð portirēfan and ealle þā
+burhwaru binnan Londone, Frencisce and Englisce, frēond\-līce. And ic kȳðe ēow
+þæt ic wylle þæt get bēon eallre þǣra laga weorðe þē gyt wǣran on Eadwerdes
+dæge kynges. And ic wylle þæt ǣlc cyld bēo his fæder yrfnume æfter his
+fæder dæge. And ic nelle geþolian þæt ǣnig man ēow ǣnig wrang bēode. God
+ēow gehealde!
+
+\end{quote}
+
+\paragraph{Middle English}
+
+No special typographic features are required for typesetting Middle
+English, so the following example just demonstrates some characters,
+specific for this language, in particular the \textit{ȝ} (yogh):
+
+\begin{quote}
+\large
+
+\fontspec[Script=Latin,Language=English]{OldStandard-Regular}
+Our Lord, which ich shal douten, is my liȝtyng and my helpe. Our Lord is
+defendour of my lif; for what þyng shal ich drede? To þat noiand comen
+neȝe vp me, þat hij etand my flesshes: Myn enemys, þat trubleden me, ben
+made sike, and hij fellen. Ȝif hij setten manaces oȝains me, myn hert ne
+shal nouȝt drede. Ȝyf myn enemy arere bataile oȝains me, y shal hopen in
+þat. Ich asked þe lif þat euer shal last of our Lord; ich shal bisechen
+þat, þat ich mai wonne in þe hous of our Lord alle þe daies of my lif; Þat
+ich se þe wille of our Lord and uisite his temple.
+
+\smallskip
+
+\itshape
+Our Lord, which ich shal douten, is my liȝtyng and my helpe. Our Lord is
+defendour of my lif; for what þyng shal ich drede? To þat noiand comen
+neȝe vp me, þat hij etand my flesshes: Myn enemys, þat trubleden me, ben
+made sike, and hij fellen. Ȝif hij setten manaces oȝains me, myn hert ne
+shal nouȝt drede. Ȝyf myn enemy arere bataile oȝains me, y shal hopen in
+þat. Ich asked þe lif þat euer shal last of our Lord; ich shal bisechen
+þat, þat ich mai wonne in þe hous of our Lord alle þe daies of my lif; Þat
+ich se þe wille of our Lord and uisite his temple.
+
+\end{quote}
+
+\paragraph{Gothic Transliteration}
+
+Two additional letters are used in Gothic transliteration: \textit{þ}
+(þiuþ, thorn) and \textit{ƕ} (hwair). Both of them are available in Old
+Standard:
+
+\begin{quote}
+\large
+
+\fontspec[Script=Latin]{OldStandard-Regular}
+Akei ik sunja izwis qiþa: batizo ist izwis ei ik galeiþau; unte jabai ik ni
+galeiþa, parakletus ni qimiþ at izwis; aþþan jabai gagga, sandja ina du
+izwis. Jah qimands is gasakiþ þo manaseþ bi frawaurht jah bi garaihtiþa
+jah bi staua; bi frawaurht raihtis, þata þatei ni galaubjand du mis; iþ bi
+garaihtiþa, þatei du attin meinamma gagga, jah ni þanaseiþs saiƕiþ mik;
+iþ bi staua, þatei sa reiks þis fairƕaus afdomiþs warþ.
+
+\smallskip
+
+\itshape
+Akei ik sunja izwis qiþa: batizo ist izwis ei ik galeiþau; unte jabai ik ni
+galeiþa, parakletus ni qimiþ at izwis; aþþan jabai gagga, sandja ina du
+izwis. Jah qimands is gasakiþ þo manaseþ bi frawaurht jah bi garaihtiþa
+jah bi staua; bi frawaurht raihtis, þata þatei ni galaubjand du mis; iþ bi
+garaihtiþa, þatei du attin meinamma gagga, jah ni þanaseiþs saiƕiþ mik;
+iþ bi staua, þatei sa reiks þis fairƕaus afdomiþs warþ.
+
+\end{quote}
+
+\paragraph{Old Icelandic}
+
+A fragment of text in Old Icelandic. Note some specific letters used in
+that language, as well as the \textit{fj} ligature.
+
+\begin{quote}
+\large
+
+\fontspec[Script=Latin,Language=Icelandic]{OldStandard-Regular}
+Kømr nú þessi fregn fyrir Hrólf konung ok kappa hans upp í kastalann, at
+maðr mikilúðligr sé kominn til hallarinnar ok hafi drepit einn hirðmann
+hans, ok vildu þeir láta drepa manninn. Hrólfr konungr spurðisk eptir,
+hvárt hirðmaðrinn hefði verit saklauss drepinn. „Því var næsta“, sǫgðu
+þeir. Kómusk þá fyrir Hrólf konung ǫll sannindi hér um. Hrólfr konungr
+sagði þat skyldu fjarri, at drepa skyldi manninn~— „hafi þit hér illan
+vanda upp tekit, at berja saklausa menn beinum; er mér í því óvirðing, en
+yðr stór skǫmm, at gøra slíkt. Hefi ek jafnan rœtt um þetta áðr, ok hafi
+þit at þessu engan gaum gefit, ok hygg ek at þessi maðr muni ekki alllítill
+fyrir sér, er þér hafið nú á leitat; ok kallið hann til mín, svá at ek viti
+hverr hann er“.
+
+\smallskip
+
+\itshape
+Kømr nú þessi fregn fyrir Hrólf konung ok kappa hans upp í kastalann, at
+maðr mikilúðligr sé kominn til hallarinnar ok hafi drepit einn hirðmann
+hans, ok vildu þeir láta drepa manninn. Hrólfr konungr spurðisk eptir,
+hvárt hirðmaðrinn hefði verit saklauss drepinn. „Því var næsta“, sǫgðu
+þeir. Kómusk þá fyrir Hrólf konung ǫll sannindi hér um. Hrólfr konungr
+sagði þat skyldu fjarri, at drepa skyldi manninn~— „hafi þit hér illan
+vanda upp tekit, at berja saklausa menn beinum; er mér í því óvirðing, en
+yðr stór skǫmm, at gøra slíkt. Hefi ek jafnan rœtt um þetta áðr, ok hafi
+þit at þessu engan gaum gefit, ok hygg ek at þessi maðr muni ekki alllítill
+fyrir sér, er þér hafið nú á leitat; ok kallið hann til mín, svá at ek viti
+hverr hann er“.
+
+\end{quote}
+
+A special note is required on the shape of the Icelandic letter \textit{þ}
+(thorn). In modern fonts this character’s design is almost always based on
+the lowercase \textit{p} with an ascender added. This design is also the
+only mentioned by Icelandic type designer Gunnlaugur SE Briem in his
+article \href{http://briem.ismennt.is/2/2.11/index.htm}{Thorn and eth: how
+to get them right}. And yet this letterform doesn’t look characteristic for
+the traditional typography. Generally speaking, there were two styles of
+\textit{thorn} most commonly used in the late 19\textsuperscript{th} and
+early 20\textsuperscript{th} century printing:
+
+\begin{itemize}
+
+\item a glyph based on the lowercase \textit{p}, but with a double sided
+serif at the top of the ascender;
+
+\item a glyph with its top and bottom serifs positioned under an angle to
+the vertical stem and the bowl stretched upwards.
+
+\end{itemize}
+
+In both cases the upper element often doesn’t reach the full ascender
+height, which makes a significant advantage over the modern letterform
+where the glyph often looks unbalanced due to the fact that the ascender is
+significantly longer than the descender.
+
+I have preferred the second form for the upright font, as it looks more
+elegant and seems to be preferable for Old English and the Gothic
+transliteration. However, it is important to stress the fact, that it is
+also perfectly suitable for Norse languages. In particular it was actively
+used for this purpose in the German printing, as for example the “Sammlung
+kurzer Grammatiken Germanischer Dialekte” series, published in Halle a.S.
+in early 20\textsuperscript{th} century and now, thanks to the
+\href{http://www.ling.upenn.edu/~kurisuto/germanic/language\_resources.html}{Germanic
+Lexicon Project}, available on the web in the form high resolution scans, can
+demonstrate.
+
+In the same books, however, the italic thorn already has the contemporary
+style. So I have implemented this letterform too in the italic font
+(where, indeed, it looks more appropriate than in the regular version).
+
+\subsection{Greek Script}
+
+\subsubsection{Alternate Forms}
+
+In addition to the basic Greek alphabet the Unicode standard includes
+alternate forms for several letters, such as script \textit{theta}, stroked
+\textit{phi} and so on. These characters were included mainly for
+compatibility with legacy character sets (Symbol for example), and using
+them anywhere except mathematical contexts is strongly discouraged.
+Nevertheless, the fact these characters are encoded causes a great mess by
+itself, since it convinces font designers to think that any Greek typeface
+can and should include two basic forms for several Greek letters, and that
+some of these forms are always preferred for a Greek text, while others are
+intended only for mathematical usage. Of course this assumption is wrong:
+in fact all such letterforms are font-specific, so that normally only one
+of them is stylistically compatible with each particular typeface.
+
+That’s why, although OldStandard implements several alternate forms for
+Greek letters, only a few of them can be considered really useful. The most
+important of such exceptions is curly \textit{beta} U+03D0: this character,
+indeed, should be available in any correct Greek font, since according to
+the French typographic rules it is used instead of the regular
+\textit{beta} with descender as a medial and final form (the same rule was
+sometimes applied also in Greece itself). For this reason French
+classicists often type U+03D0 directly in their documents, and particularly
+I see nothing wrong in this practice, although it is not recommended by
+Unicode. However, in a “smart” font it is also possible to implement
+a contextual substitution rule, allowing initial/medial forms to be
+automatically substituted at the correct places.
+
+In Old Standard v.~1.0 I used contextual alternates (the \texttt{calt}
+feature tag) for this purpose, but later I realized this feature is
+normally enabled by default in most applications which support it, and,
+since contextual forms are not very common in contemporary Greek publishing
+outside France, most classicists would probably be discouraged if they appear
+automatically in their texts. So now a stylistic set (\texttt{ss06})
+is used instead.
+
+\begin{figure}[htb]
+
+\centerline{\XeTeXpicfile "greek-contextual.png" width 160mm}
+
+\caption{Contextual forms of \textit{beta} and \textit{theta} in
+traditional Greek typesetting. This example has been taken from: Ὡρολόγιον
+τὸ μέγα, περιέχον ἁπάσαν τὴν ἀνήκουσαν αὐτῷ ἀκολουθίαν, κατὰ τὴν τάξιν τῆς
+ἀνατολικῆς τοῦ Χριστοῦ ἐκκλησίας, καὶ ἐξαιρέτως τῶν ὑποκειμένων αὐτῇ εὐαγῶν
+μοναστηρίων. Ἔκδοσις ἑβδόμη. Ἐν Βενετία, 1851. Σ.~32.}
+
+\label{fig:greek-contextual}
+
+\end{figure}
+
+\textit{Theta} is another letter, which can have two different forms, both
+of which are stylistically compatible with Didot faces. The Unicode
+code chart displays the closed \textit{theta} \textit{\char"EB02} at U+03B8
+(thus making it the default letterform), while the open, or script variant
+form \textit{ϑ} is mapped to U+03D1 and intended only for mathematical
+usage. Most fonts currently follow this convention. Historically, however,
+selection of one or another form has been made depending from national
+typographic traditions. In particular, French and Greek publishers
+certainly preferred the closed letterform, although in some
+19\textsuperscript{th} century editions the open theta is used at the
+beginning of words, i.~e. a rule, similar to one of \textit{beta}, is
+applied (see \autoref{fig:greek-contextual} for example). On the other
+hand, in German and Russian typography the open \textit{theta} was normally
+used; this is also the only style of this letter found in the Teubner font
+and other cursive Greek typefaces of a German origin.
+
+Since my sources contained good examples of both open and closed
+\textit{theta} in Didot-styled Greek fonts, I have implemented them both,
+and have added a closed letterform even to the italic font for better
+compatibility with the regular version. However, since Old Standard mainly
+follows German typographic conventions, it seemed inappropriate to map this
+form to U+03B8 and thus make it the only accessible glyph for the case
+advanced Open Type features are not supported by user’s application.
+Instead the following solution has been preferred: the open \textit{theta}
+is mapped both to U+03B8 (GREEK SMALL LETTER THETA) and U+03D1 (GREEK THETA
+SYMBOL), while the closed glyph is placed to a slot in the PUA and can be
+automatically substituted instead of U+03B8 in one of the following
+situations:
+
+\begin{itemize}
+
+\item in any postition, if the \texttt{mgrk} (Mathematical Greek) feature
+tag is applied. Thus in mathematical contexts you can get a glyph mapping
+which exactly corresponds to one defined by Unicode;
+
+\item at the middle and the end of words, if stylistic set 06 (the
+\texttt{ss06} feature tag) is applied.
+
+\end{itemize}
+
+Thus enabling \texttt{ss06} will turn on contextual forms both for
+\textit{beta} and \textit{theta}, as demonstrated below:
+
+\begin{center}
+\LARGE
+\begin{tabular}[c]{ccc}
+
+\fontspec[Script=Greek,Color=696969]{OldStandard-Regular}
+θαυμασθεὶς βάρβαρος & ⇒ &
+\fontspec[Script=Greek,RawFeature=+ss06]{OldStandard-Regular}
+θαυμασθεὶς βάρβαρος \\
+\fontspec[Script=Greek,Color=696969]{OldStandard-Regular}
+\itshape θαυμασθεὶς βάρβαρος & ⇒ & \itshape
+\fontspec[Script=Greek,RawFeature=+ss06]{OldStandard-Regular}
+θαυμασθεὶς βάρβαρος \\
+
+\end{tabular}
+\end{center}
+
+Note that the U+03D1 character will always be displayed as a script theta,
+no matter, which feature tags you have applied.
+
+The following example shows a fragment of Greek text with contextual
+alternates (note the medial \textit{beta} and the closed \textit{theta}
+substituted in the appropriate places):
+
+\begin{quote}
+\large
+
+\fontspec[Script=Greek,RawFeature=+ss06]{OldStandard-Regular}
+Κῦρος δὲ συγκαλέσας τοὺς στρατηγοὺς καὶ λοχαγοὺς τῶν Ἑλλήνων συνεβουλεύετό
+τε πῶς ἂν τὴν μάχην ποιοῖτο καὶ αὐτὸς παρῄνει θαρ\-ρύνων τοιάδε· «ὦ ἄνδρες
+Ἕλληνες, οὐκ ἀνθρώπων ἀπορῶν [βαρβά\-ρων] συμ\-μάχους ὑμᾶς ἄγω, ἀλλὰ νομίζων
+ἀμείνονας καὶ κρείττους πολλῶν βαρβάρων ὑμᾶς εἶναι, διὰ τοῦτο προσέλαβον.
+ὅπως οὖν ἔσεσθε ἄνδρες ἄξιοι τῆς ἐλευθερίας ἧς κέκτησθε καὶ ἧς ὑμᾶς ἐγὼ
+εὐδαιμονίζω. εὖ γὰρ ἴστε ὅτι τὴν ἐλευθερίαν ἑλοίμην ἂν ἀντὶ ὧν ἔχω πάντων
+καὶ ἄλλων πολλαπλασίων».
+
+\itshape
+Κῦρος δὲ συγκαλέσας τοὺς στρατηγοὺς καὶ λοχαγοὺς τῶν Ἑλλήνων συνεβουλεύετό
+τε πῶς ἂν τὴν μάχην ποιοῖτο καὶ αὐτὸς παρῄνει θαρ\-ρύνων τοιάδε· «ὦ ἄνδρες
+Ἕλληνες, οὐκ ἀνθρώπων ἀπορῶν [βαρβά\-ρων] συμ\-μάχους ὑμᾶς ἄγω, ἀλλὰ νομίζων
+ἀμείνονας καὶ κρείττους πολλῶν βαρβάρων ὑμᾶς εἶναι, διὰ τοῦτο προσέλαβον.
+ὅπως οὖν ἔσεσθε ἄνδρες ἄξιοι τῆς ἐλευθερίας ἧς κέκτησθε καὶ ἧς ὑμᾶς ἐγὼ
+εὐδαιμονίζω. εὖ γὰρ ἴστε ὅτι τὴν ἐλευθερίαν ἑλοίμην ἂν ἀντὶ ὧν ἔχω πάντων
+καὶ ἄλλων πολλαπλασίων».
+
+\end{quote}
+
+Old Standard also implements stroked \textit{phi} (U+03D5), omega-like
+\textit{pi} (U+03D6) and lunate epsilon (U+03F5), but these glyphs are not
+accessible via any OpenType features, and using them anywhere except
+mathematical contexts is not recommended. In other cases I had just to put
+the same glyph image to more than one Unicode slot. For example, U+03F0
+(GREEK KAPPA SYMBOL) just contains a reference to U+03BA (the regular Greek
+kappa), as the only possible form for this letter both in the Didot and
+Teubner styles is the x-shaped one. All such “alternate” codepoints are
+supported only for compatibility with other existing Greek fonts and for
+the case you have occasionally used them in some texts.
+
+The same statement is true for the lunate \textit{sigma}, both small and
+capital: although it is sometimes reasonable to use this form e. g. for
+typesetting papyrological texts (where word breaks and thus the usage of
+final sigmas are sometimes not obvious), it is probably impossible to
+implement a lunate sigma fully conforming the Didot style. So I don't
+recommend using this letterform and have implemented it mainly in order
+to make existing documents which use this character (such as some texts
+from the \href{http://www.tlg.uci.edu}{Thesaurus Linguae Graecae} corpus)
+readable.
+
+\subsubsection{Combining Mark Positioning}
+
+Unicode provides codepoints for all accented characters needed for the
+standard Greek orthography, and yet this set is often insufficient for
+classicists. The most common problem is combining a breathing and/or an
+accent with a macron or a breve mark. Also one often has to put a macron,
+a breve or a circumflex above \textit{epsilon} or \textit{omicron} when
+publishing epigraphical documents, although such combinations make no sense
+for literary Greek. For this reason some Unicode Greek fonts include a huge
+number of additional accented characters in the Unicode Private Use Area.
+The most important problem here is that each vendor uses its own
+arrangement of PUA slots, so that fonts are often incompatible with each
+other, especially because very few of them have more or less correct OT
+layouts allowing to access those glyphs without typing them directly.
+
+Old Standard uses a different approach: it has a carefully adjusted set of
+anchor points and \texttt{ccmp} rules, which allow to correctly position
+accent marks relatively to each other and combine breathings with accents
+to specially designed combinations, when necessary. Moreover, when you
+type a capital letter folowed by one or more accents, these accents are
+placed \textit{before} the letter, and the letter itself is shifted right
+to the necessary amount of space. Thus you can type any possible accented
+combination using combining marks, if only your application supports smart
+accent positioning (but this is not a problem at least with Microsoft Word
+2003 and above). Note that you should observe the following order of typing
+diacritics: first a macron or a breve, then a breathing and finally an
+accent. For example, combining marks were used to type the following
+fragment of the Mantinea inscription:
+
+\begin{quote}
+\large
+
+\fontspec[Script=Greek]{OldStandard-Regular}
+ὀσ̱έοι ἂν χρε̄στε̄́ριον κακρίνε̄ || ε̄̓̀ γνο̄σίαι κακριθε̄́ε̄ το̄͂ν χρε̄μάτο̄ν, | πὲ τοῖς
+ϝοικιάται(ς) τᾶς θεο̄͂ ε̄̓͂ναι, κὰ ϝοικίας δάσασθαι τὰς ἂν ο̄̓͂δ᾽ ἐάσας. εἰ τοῖς
+ϝο̄φλε̄κόσι ἐπὶ τοῖδ’ ἐδικάσαμε[ν], | ἄ τε θεὸς κὰς οἰ δικασσταὶ,
+ἀπυσ̱εδομίν[ος] || το̄͂ν χρε̄μάτο̄ν τὸ λάχος, ἀπεχομίνος | κὰ το̄̓ρρέντερον γένος
+ε̄̓͂ναι | ἄματα πάντα ἀπὺ τοῖ ἰεροῖ, ἴλαον ε̄̓͂ναι.
+
+\smallskip
+
+\itshape
+ὀσ̱έοι ἂν χρε̄στε̄́ριον κακρίνε̄ || ε̄̓̀ γνο̄σίαι κακριθε̄́ε̄ το̄͂ν χρε̄μάτο̄ν, | πὲ τοῖς
+ϝοικιάται(ς) τᾶς θεο̄͂ ε̄̓͂ναι, κὰ ϝοικίας δάσασθαι τὰς ἂν ο̄̓͂δ᾽ ἐάσας. εἰ τοῖς
+ϝο̄φλε̄κόσι ἐπὶ τοῖδ’ ἐδικάσαμε[ν], | ἄ τε θεὸς κὰς οἰ δικασσταὶ,
+ἀπυσ̱εδομίν[ος] || το̄͂ν χρε̄μάτο̄ν τὸ λάχος, ἀπεχομίνος | κὰ το̄̓ρρέντερον γένος
+ε̄̓͂ναι | ἄματα πάντα ἀπὺ τοῖ ἰεροῖ, ἴλαον ε̄̓͂ναι.
+
+\end{quote}
+
+Old Standard includes also several precomposed accented Greek characters in
+the PUA, added for compatibility with
+\href{http://www.users.dircon.co.uk/~hancock/index.htm}{Ralph Hancock}’s
+fonts. However, you should use those characters with a caution and only if
+your application doesn’t support combining mark positioning.
+
+\subsubsection{Tilda-Shaped Circumflex vs. Lunate Circumflex}
+
+Greek circumflex (perispomeni) often becomes a matter of discussions. I
+know, that some (mostly English and American) classicists prefer porsonic
+(lunate) circumflex, similar to an inverted breve, mainly because this form is
+characteristic for most Greek fonts traditionally used in English and
+American typography. However, in fact the preferred design of this accent
+is a purely font specific question. For most typefaces of the continental
+European origin (such as Didot or Teubner) only the tilde-shaped form is
+acceptable, as inverted breve just cannot be harmonized with most letters.
+So, don’t ask me to implement a version with “porsonic” circumflex.
+
+\subsubsection{Iota Adscript vs. Iota Subscript}
+
+Combinations of Greek vowels with “mute” iota, defined in Unicode, is one
+more important group of glyphs, which may be designed by various ways,
+depending from the designer’s preferences. Most ancient Greek language
+manuals state that mute iota (called \textit{iota subscript}) is written
+below lowercase letters, but after capital vowels a regular small iota,
+written inline and so called \textit{iota adscript}, should be used
+instead. Currently most Unicode Greek fonts follow this convention, and
+many classicists even suppose any over implementations of uppercase
+combinations with mute iota to be illegal.
+
+However, iota subscript below capital letters also may occur in some
+editions. In particular, this orthography is very common for liturgical
+books of the Greek Orthodox church. Particularly I prefer this typographic
+tradition, not only because it is inherited from fine Greek typography of
+the past centuries, but also for some technical reasons. The problem here
+is that, if a mute iota is designed as a regular iota and printed inline,
+it should behave as a separate character. This means that, when
+letterspacing for the surrounding text is changed, the distance between the
+iota and the preceding vowel should be scaled too. Of course this is
+impossible if both characters are implemented as a single glyph.
+
+That’s why in Old Standard mute iota is implemented as iota subscript in
+all accented combinations with capital vowels. Note that \textit{unaccented}
+capital vowels with mute iota represent a special case: unlike their
+accented counterparts, they are used in upper case only, i.~e. may occur
+only in a fully capitalized text. So for these glyphs (namely, Unicode
+characters U+1FBC, U+1FCC, U+1FFC) I have designed a special version of
+iota adscript, which looks like a \textit{capital} Iota, decreased in size.
+To my mind, this shape will better match to the design of surrounding
+capital glyphs.
+
+Such an implementation of capital vowels with mute iota has nothing wrong
+by itself, but, of course, it would be nice to allow replacing each of
+affected Unicode codepoints with a pair of glyphs: the vowel itself and a
+regular iota. Theoretically, this can be done by applying an OpenType
+feature, but, unfortunately, I am not aware of any suitable OpenType
+feature, which:
+
+\begin{itemize}
+
+\item can be used for replacing a single glyph with two or more glyphs, as in
+our case;
+
+\item can be disabled if a user doesn’t like it.
+
+\end{itemize}
+
+So for now I can’t provide an alternative for the implementation which
+looks preferred for me. If you absolutely don’t like capital vowels with
+iota subscript, at least you can always type regular iota as a separate
+character.
+
+\subsection{Cyrillic Script}
+
+\subsubsection{Combining Mark Positioning}
+
+Smart combining mark positioning is often necessary for Cyrillic.
+Although the stress is usually not indicated in modern languages which use
+the Cyrillic script, accentuation is still mandatory for textbooks,
+dictionaries and books for children. This is especially important for
+Serbian, which has long and short vowels and four types of accent.
+Nevertheless, there are virtually no precomposed Cyrillic accented
+characters in Unicode, so that using combining marks remains the only
+option. So Old Standard provides all necessary anchor points allowing to
+place accents above Cyrillic vowels (see the following sections about
+Serbian and Old Slavonic for examples).
+
+\subsubsection{Serbian Alternate Forms}
+
+It is a well known fact, that, except several specific letters, Serbian
+Cyrillic alphabet also has different preferred shapes for some letters
+common for most languages which use the Cyrillic script. According to the
+most common opinion, four Serbian variant forms are specific for the
+italic style, while one can occur both in roman and italic styles, as
+\autoref{fig:serbian} demonstrates. This practice was adopted by many font
+designers, and Adobe even included Serbian variant forms into its Cyrillic
+specification, although they have not been accepted by Unicode.
+
+\begin{figure}
+
+\centerline{\XeTeXpicfile "serbian.png" width 80mm}
+
+\caption{Serbian and Macedonian variant forms. Russian norms on the left,
+Serbian and Macedonian norms on the right}
+\label{fig:serbian}
+
+\end{figure}
+
+However, after studying several examples of old Serbian printing (a small
+\href{http://alas.matf.bg.ac.yu/biblioteka/home.jsp}{collection of such
+examples} is available at the site of the faculty of Mathematics at the
+Belgrade university) I have an impression that the modern practice is not
+fully justified by the preceding tradition.
+
+As far as I can see, there are only two letters (namely Cyrillic \textit{п}
+and \textit{т}), which always have typically “Serbian” forms, clearly
+distinct from their Russian counterparts. However, the late
+19\textsuperscript{th} and early 20\textsuperscript{th} century editions,
+set with Modern typefaces, also show a significant difference from the
+contemporary “Serbian” style, as the horizontal bar (the most
+characteristic feature of “Serbian” \textit{п} and \textit{т}) is attached
+to the base glyph rather than positioned above it (like a diacritical
+mark). The \textit{т} also may look like a slanted upright glyph, but I
+have preferred to draw both \textit{п} and \textit{т} in the same
+“historical” style.
+
+It is especially important to stress that “Serbian” \textit{д} with a hook
+below seems to never occur in the traditional Serbian printing, although
+there was absolutely no problem to reproduce this form, if somebody
+considered it correct, as Latin italic \textit{g} has exactly the same
+shape in Modern typefaces of the early 20\textsuperscript{th} century. My
+own opinion is that the contemporary Serbian letterform first appeared as a
+result of uncritically reproducing the handwritten shape, erroneously
+considered typically Serbian (actually it is not, as the same style is
+preferred also in the Russian handwriting, which doesn’t mean this practice
+should necessarily be reflected in printing). On the other hand, I have an
+impression that the “Russian” italic \textit{д} (with an ascender) is also
+not so common in Serbian printing: often it is replaced with a slanted
+version of the upright letter. This glyph seemed a good compromise for me:
+based on the historical tradition and at the same time certainly acceptable
+for those Serbs who absolutely don’t like the Russian form.
+
+In Old Standard only three italic letters, listed above (\textit{д},
+\textit{п} and \textit{т}) form the default set of Serbian alternate forms,
+which are automatically enabled when you mark a text with Serbian language.
+Alternatively, if your application doesn’t support the \texttt{locl}
+feature tag (which is probably the case) you can achieve the same result by
+enabling the stylistic set 11. Here an example of a fully accentuated
+Serbian text, which demonstrates both the combining mark positioning and
+the localized forms in the italic style:
+
+\begin{quote}
+\large
+
+\fontspec[Script=Cyrillic,Language=Serbian]{OldStandard-Regular}
+На но̀ве̄мбарско̄м су̑нцу прѐврће̄ се пр̏љава̄ у̏троба на̏ше̄ ку̏ће̄. Чу̏дно сам ту̑жан.
+И док но̏сӣм с ма̑јко̄м си̑вӯ о̀тр̄ца̄нӯ сла̏марицу ту̑по за̀гледан у јѐдан мр̑твӣ
+о̏бла̄к над цр̑нӣм, ни̏скӣм кро̀во\-вима на̏ше̄г прѐдгра̄ђа~— са̀плиће̄м се о пра̏г. О̀на
+ми ка̑же̄: „Па̏зи“. О̏нда̄ бри̑жно: „Шта̏ ти је да̀нас?“ О̀на је ве̏лика гла̑дна̄ жѐна,
+си́во̄ст ѝзбӣја̄ ѝз ње̄. У̀опште, све̏ је да̀нас си̑во. И не̏бо, и на̏ша а̀влија, и
+шу́паљ, гра̀нат о̀рах сред ње̑, и о̀ве̄ на̏ше ства̑ри ко̀је̄, јѐдна по јѐдна, ѝзлазе̄
+на да̑н.
+
+\smallskip
+
+\itshape
+На но̀ве̄мбарско̄м су̑нцу прѐврће̄ се пр̏љава̄ у̏троба на̏ше̄ ку̏ће̄. Чу̏дно сам ту̑жан.
+И док но̏сӣм с ма̑јко̄м си̑вӯ о̀тр̄ца̄нӯ сла̏ма\-рицу ту̑по за̀гледан у јѐдан мр̑твӣ
+о̏бла̄к над цр̑нӣм, ни̏скӣм кро̀вовима на̏ше̄г прѐдгра̄ђа~— са̀плиће̄м се о пра̏г. О̀на
+ми ка̑же̄: „Па̏зи“. О̏нда̄ бри̑жно: „Шта̏ ти је да̀нас?“ О̀на је ве̏лика гла̑д\-на̄ жѐна,
+си́во̄ст ѝзбӣја̄ ѝз ње̄. У̀опште, све̏ је да̀нас си̑во. И не̏бо, и на̏ша а̀влија, и
+шу́паљ, гра̀нат о̀рах сред ње̑, и о̀ве̄ на̏ше ства̑ри ко̀је̄, јѐдна по јѐдна, ѝзлазе̄
+на да̑н.
+
+\end{quote}
+
+The case of the letter \textit{б} is basically the same as one of the
+\textit{д}. The only difference here is that the “script” form actually
+seems to be more common for Russian, than for Serbian printing, although in
+the Russian tradition it is applicable only for the italic style. At least
+it was used in the italic version of one particular “Standard” typeface of
+early 20\textsuperscript{th} century. That’s why I have implemented this
+letterform in Old Standard, although the italic version of the glyph is
+actually based on a Russian source, and the upright shape has been added
+just for completeness. These glyphs are not automatically applied for
+Serbian text by default, but you can enable the stylistic set 12 to get
+them substituted, as in the following example:
+
+\begin{center}
+\LARGE
+
+\begin{tabular}[c]{ccc}
+
+\fontspec[Script=Cyrillic,Language=Serbian,Color=696969]
+{OldStandard-Regular}мртви облак & ⇒ &
+\fontspec[Script=Cyrillic,Language=Serbian,RawFeature=+ss12]
+{OldStandard-Regular}мртви облак \\
+\fontspec[Script=Cyrillic,Language=Serbian,Color=696969]
+{OldStandard-Regular}\itshape мртви облак & ⇒ &\itshape
+\fontspec[Script=Cyrillic,Language=Serbian,RawFeature=+ss12]
+{OldStandard-Regular}мртви облак \\
+
+\end{tabular}
+\end{center}
+
+Finally, the case of “Serbian” \textit{г} is a bit special: here the
+specific shape is really justified by the peculiarities of the Serbian
+handwriting tradition, and yet the letterform normally used in pre-computer
+Serbian printing was typically Russian, i.~e. had no horizontal bar above.
+Particularly I think the modern “Serbian” variant has nothing wrong by
+itself, but, of course, it is difficult to implement it, if both
+\textit{п} and \textit{т} are designed in the historical style, so that
+there is no gap between the bar and the base glyph. Nevertheless I have
+attempted to implement a Serbian \textit{г} in the same style as \textit{п}
+and \textit{т}, basing on
+\href{http://cirilica.com/cirilica/Strane/Slova/Azbuka.html}{the
+recommendations by Nikola Kovanovich}, but this glyph is purely
+experimental, and thus currently it is not accessible via any OpenType
+features.
+
+\subsubsection{Old Slavonic and Church Slavonic}
+
+Until 2008, Unicode included only a subset of historical Cyrillic
+characters, which was not sufficient for typesetting any actual texts.
+Thus legacy encodings or PUA-based solutions were the only solution for
+representing historical documents in old Slavic languages which used
+the Cyrillic script. In Unicode 5.1 the range of supported early
+Cyrillic characters was greatly extended and now includes all letters
+and signs normally used in scientific publication and Orthodox liturgical
+books (including even combining letters). Beginning from the version
+2.0 Old Standard fully supports historical Cyrillic, including Unicode
+5.1 extensions.
+
+However, except just having all necessary characters available in a font,
+typesetting Old Slavonic or Church Slavonic also requires some complex
+text rendering. So the following smart font features necessary for this
+purpose are implemented in Old Standard:
+
+\begin{description}
+
+\item[Combining mark positioning] Old Slavonic (and especially modern
+Church Slavonic) has a wide range of combining characters, such as accents,
+breathings, titlos and superscript letters. Basically the accentuation
+system is very similar to Greek one, but, unlike for Greek, there are no
+precomposed accented characters available in Unicode, so that using
+combining marks is the only option.
+
+\item[Enclosing combining marks] Church Slavonic inherited from Greek
+its numeric system, where numbers are denoted with letters. However, special
+enclosing marks, shown in the following table, have been invented to denote
+large numbers beginning from 10000:
+
+\begin{center}
+\begin{tabular}[c]
+{|>{\fontspec[Script=Cyrillic,Language=Church Slavonic]{OldStandard-Regular}}
+p{4em}|p{6em}|p{6em}|}
+\hline
+\textit{Notation}& \textit{Numerical meaning}& \textit{Old Slavonic name}\\
+\hline
+ \Large\hfil{а҃⃝}\hfil & 10\,000 & тьма\\
+\hline
+ \Large\hfil{а҃҈}\hfil & 100\,000 & легион\\
+\hline
+ \Large\hfil{а҃҉}\hfil & 1\,000\,000 & леодр\\
+\hline
+ \Large\hfil{а҃꙰ }\hfil & 10\,000\,000 & ворон\\
+\hline
+ \Large\hfil{а҃꙱ }\hfil & 100\,000\,000 & колода\\
+\hline
+\end{tabular}
+\end{center}
+
+Old Standard implements two types of OT lookups to achieve proper positioning
+for this kind of marks: first, standard anchor points (the \texttt{mark}
+feature) used to attach a mark to a base character, and second, contextual
+positioning lookups allowing to increase the base character bearings and
+advance width when it is followed by enclosing marks. Unfortunately, this
+technique is not guaranteed to work in all OpenType-aware applications: in
+particular at the time this manual was written contextual positioning did
+not properly work in \XeTeX.
+
+\item[Historic letterforms] Although the modern Cyrillic script (so called
+“civil” style) is often used to typeset medieval texts, some of the modern
+letterforms are especially closely associated with the typographic reform under
+Peter the Great, and thus would look out of place in a historical context.
+That's why Old Standard provides some stylistic alternates, specially intended
+for Old Russian and Old (Church) Slavonic:
+
+\begin{center}
+\LARGE
+\begin{tabular}[c]{cccc}
+
+\fontspec[Script=Cyrillic,Color=696969]{OldStandard-Regular}
+не вѣдыи будущаго &
+⇒ &
+\fontspec[Script=Cyrillic,Language=Church Slavonic]{OldStandard-Regular}
+не вѣдыи будущаго &\\
+
+\fontspec[Script=Cyrillic,Color=696969]{OldStandard-Regular}
+\itshape не вѣдыи будущаго &
+⇒ &
+\fontspec[Script=Cyrillic,Language=Church Slavonic]{OldStandard-Regular}
+\itshape не вѣдыи будущаго &\\
+
+\end{tabular}
+\end{center}
+
+These alternates are automatically enabled for Old Church Slavonic, if
+your application understands the \texttt{locl} feature tag and allows
+to mark a text with this language. Alternatively you can get the same
+substitutions by applying the stylistic set 14 (\texttt{ss14}).
+
+\item[Contextual letterforms] Some Cyrillic letters have tall ascenders,
+while in medieval manuscripts the same letters normally did not extend above
+x-height, so that it was possible to put an accent or a combining letter
+above them. Old Standard includes special low forms for some of such letters
+(namely \textit{б} and \textit{ѣ}) and can automatically subsitute them
+when the letter is followed by an accent:
+
+\begin{center}
+\LARGE
+\fontspec[Script=Cyrillic,Language=Church Slavonic]{OldStandard-Regular}
+
+\begin{tabular}[c]{ccc}
+
+\fontspec[Script=Cyrillic,Language=Church Slavonic,Color=696969]{OldStandard-Regular}
+прѣдъ богомъ & ⇒ & прѣⷣ҇ бⷢ҇омъ \\
+\fontspec[Script=Cyrillic,Language=Church Slavonic,Color=696969]{OldStandard-Regular}
+\itshape прѣдъ богомъ & ⇒ &\itshape прѣⷣ҇ бⷢ҇омъ \\
+
+\end{tabular}
+\end{center}
+
+\end{description}
+
+Finally an example of Old Slavonic text with combining marks and historic
+letters and letterforms:
+
+\begin{quote}
+\large
+
+\fontspec[Script=Cyrillic,Language=Church Slavonic]{OldStandard-Regular}
+А҆ ѡ҆ сеⷨ Иракліи и҆ною̀ притчею рекоша сеⷤ Феѡ҆́фиⷧ҇ мⷣрыи хронограⷴ написа.
+Є҆рміи же раⷥумѣвь на нь творѧщꙋся братію ѿиде, ꙁлато многѡ̀ вꙁемъ, и҆ и҆де
+въ Є҆гѷпеⷮ҇ къ коленꙋ Хамову сн҃а Ноєва. иⷤ и҆ пріаша є҆́го с̾ честію. и҆ живе
+тѹ во̑ вѣлице чьсти, носѧ риꙁу ꙁлаⷮу и҆ мⷣрствꙋꙗ҆́ше па Є҆гѷпетскыⷯ влъхвоⷯ҇,
+влъх̾вѹѧ и҆ повѣда и҆мъ хотѧщаѧ̀ быти. бѣ̏ же и҆ хїтръ бесѣдаⷨ. и҆ кланѧхꙋсѧ
+є҆́му гл҃ще б҃ъ Є҆рміин ꙗ҆ко повѣдающа иⷨ хотѧщаѧ̀ быти и҆мъ и повѣдающа
+иⷨ и҆мѣніє є҆гоⷤ и дателѧ богаⷮствѹ нарицахѹ ꙗ҆ко ꙁлат̾наго б҃а мнѧще.
+
+\smallskip\itshape
+
+А҆ ѡ҆ сеⷨ Иракліи и҆ною̀ притчею рекоша сеⷤ Феѡ҆́фиⷧ҇ мⷣрыи хронограⷴ написа.
+Є҆рміи же раⷥумѣвь на нь творѧщꙋся братію ѿиде, ꙁла\-то многѡ̀ вꙁемъ, и҆ и҆де
+въ Є҆гѷпеⷮ҇ къ коленꙋ Хамову сн҃а Ноєва. иⷤ и҆ пріаша є҆́го с̾ честію. и҆ живе
+тѹ во̑ вѣлице чьсти, носѧ риꙁу ꙁлаⷮу и҆ мⷣрствꙋꙗ҆́ше па Є҆гѷпетскыⷯ влъхвоⷯ҇,
+влъх̾вѹѧ и҆ повѣда и҆мъ хотѧщаѧ̀ быти. бѣ̏ же и҆ хїтръ бесѣдаⷨ. и҆ кланѧхꙋсѧ
+є҆́му гл҃ще б҃ъ Є҆рміин ꙗ҆ко повѣдающа иⷨ хотѧщаѧ̀ быти и҆мъ и повѣдающа
+иⷨ и҆мѣніє є҆гоⷤ и дателѧ богаⷮствѹ нарицахѹ ꙗ҆ко ꙁлат̾наго б҃а мнѧще.
+
+\end{quote}
+
+\chapter{GNU Free Documentation License}
+\label{FDL}
+
+\begin{center}
+
+Version 1.2, November 2002
+
+Copyright \copyright{} 2000,2001,2002 Free Software Foundation, Inc.
+
+\bigskip
+
+51 Franklin St, Fifth Floor, Boston, MA 02110-1301 USA
+
+\bigskip
+
+Everyone is permitted to copy and distribute verbatim copies of this
+license document, but changing it is not allowed.
+
+\end{center}
+
+\subsection*{Preamble}
+
+The purpose of this License is to make a manual, textbook, or other
+functional and useful document “free” in the sense of freedom: to assure
+everyone the effective freedom to copy and redistribute it, with or without
+modifying it, either commercially or noncommercially. Secondarily, this
+License preserves for the author and publisher a way to get credit for
+their work, while not being considered responsible for modifications made
+by others.
+
+This License is a kind of “copyleft”, which means that derivative works of
+the document must themselves be free in the same sense. It complements the
+GNU General Public License, which is a copyleft license designed for free
+software.
+
+We have designed this License in order to use it for manuals for free
+software, because free software needs free documentation: a free program
+should come with manuals providing the same freedoms that the software
+does. But this License is not limited to software manuals; it can be used
+for any textual work, regardless of subject matter or whether it is
+published as a printed book. We recommend this License principally for
+works whose purpose is instruction or reference.
+
+\section{Applicability and Definitions}
+\label{FDL:sec1}
+
+This License applies to any manual or other work, in any medium, that
+contains a notice placed by the copyright holder saying it can be
+distributed under the terms of this License. Such a notice grants a
+world-wide, royalty-free license, unlimited in duration, to use that work
+under the conditions stated herein. The “\textbf{Document}”, below,
+refers to any such manual or work. Any member of the public is a licensee,
+and is addressed as “\textbf{you}”. You accept the license if you copy,
+modify or distribute the work in a way requiring permission under copyright
+law.
+
+A “\textbf{Modified Version}” of the Document means any work containing the
+Document or a portion of it, either copied verbatim, or with modifications
+and/or translated into another language.
+
+A “\textbf{Secondary Section}” is a named appendix or a front-matter
+section of the Document that deals exclusively with the relationship of the
+publishers or authors of the Document to the Document’s overall subject (or
+to related matters) and contains nothing that could fall directly within
+that overall subject. (Thus, if the Document is in part a textbook of
+mathematics, a Secondary Section may not explain any mathematics.) The
+relationship could be a matter of historical connection with the subject or
+with related matters, or of legal, commercial, philosophical, ethical or
+political position regarding them.
+
+The “\textbf{Invariant Sections}” are certain Secondary Sections whose
+titles are designated, as being those of Invariant Sections, in the notice
+that says that the Document is released under this License. If a section
+does not fit the above definition of Secondary then it is not allowed to be
+designated as Invariant. The Document may contain zero Invariant Sections.
+If the Document does not identify any Invariant Sections then there are
+none.
+
+The “\textbf{Cover Texts}” are certain short passages of text that are
+listed, as Front-Cover Texts or Back-Cover Texts, in the notice that says
+that the Document is released under this License. A Front-Cover Text may
+be at most 5 words, and a Back-Cover Text may be at most 25 words.
+
+A “\textbf{Transparent}” copy of the Document means a machine-readable
+copy, represented in a format whose specification is available to the
+general public, that is suitable for revising the document
+straightforwardly with generic text editors or (for images composed of
+pixels) generic paint programs or (for drawings) some widely available
+drawing editor, and that is suitable for input to text formatters or for
+automatic translation to a variety of formats suitable for input to text
+formatters. A copy made in an otherwise Transparent file format whose
+markup, or absence of markup, has been arranged to thwart or discourage
+subsequent modification by readers is not Transparent. An image format is
+not Transparent if used for any substantial amount of text. A copy that is
+not “Transparent” is called “\textbf{Opaque}”.
+
+Examples of suitable formats for Transparent copies include plain ASCII
+without markup, Texinfo input format, LaTeX input format, SGML or XML using
+a publicly available DTD, and standard-conforming simple HTML, PostScript
+or PDF designed for human modification. Examples of transparent image
+formats include PNG, XCF and JPG. Opaque formats include proprietary
+formats that can be read and edited only by proprietary word processors,
+SGML or XML for which the DTD and/or processing tools are not generally
+available, and the machine-generated HTML, PostScript or PDF produced by
+some word processors for output purposes only.
+
+The “\textbf{Title Page}” means, for a printed book, the title page itself,
+plus such following pages as are needed to hold, legibly, the material this
+License requires to appear in the title page. For works in formats which
+do not have any title page as such, “Title Page” means the text near the
+most prominent appearance of the work’s title, preceding the beginning of
+the body of the text.
+
+A section “\textbf{Entitled XYZ}” means a named subunit of the Document
+whose title either is precisely XYZ or contains XYZ in parentheses
+following text that translates XYZ in another language. (Here XYZ stands
+for a specific section name mentioned below, such as
+“\textbf{Acknowledgements}”, “\textbf{Dedications}”,
+“\textbf{Endorsements}”, or “\textbf{History}”.) To “\textbf{Preserve the
+Title}” of such a section when you modify the Document means that it
+remains a section “Entitled XYZ” according to this definition.
+
+The Document may include Warranty Disclaimers next to the notice which
+states that this License applies to the Document. These Warranty
+Disclaimers are considered to be included by reference in this
+License, but only as regards disclaiming warranties: any other
+implication that these Warranty Disclaimers may have is void and has
+no effect on the meaning of this License.
+
+\section{Verbatim Copying}
+\label{FDL:sec2}
+
+You may copy and distribute the Document in any medium, either commercially
+or noncommercially, provided that this License, the copyright notices, and
+the license notice saying this License applies to the Document are
+reproduced in all copies, and that you add no other conditions whatsoever
+to those of this License. You may not use technical measures to obstruct
+or control the reading or further copying of the copies you make or
+distribute. However, you may accept compensation in exchange for copies.
+If you distribute a large enough number of copies you must also follow the
+conditions in \autoref{FDL:sec3}.
+
+You may also lend copies, under the same conditions stated above, and
+you may publicly display copies.
+
+\section{Copying in Quantity}
+\label{FDL:sec3}
+
+If you publish printed copies (or copies in media that commonly have
+printed covers) of the Document, numbering more than 100, and the
+Document’s license notice requires Cover Texts, you must enclose the
+copies in covers that carry, clearly and legibly, all these Cover
+Texts: Front-Cover Texts on the front cover, and Back-Cover Texts on
+the back cover. Both covers must also clearly and legibly identify
+you as the publisher of these copies. The front cover must present
+the full title with all words of the title equally prominent and
+visible. You may add other material on the covers in addition.
+Copying with changes limited to the covers, as long as they preserve
+the title of the Document and satisfy these conditions, can be treated
+as verbatim copying in other respects.
+
+If the required texts for either cover are too voluminous to fit
+legibly, you should put the first ones listed (as many as fit
+reasonably) on the actual cover, and continue the rest onto adjacent
+pages.
+
+If you publish or distribute Opaque copies of the Document numbering
+more than 100, you must either include a machine-readable Transparent
+copy along with each Opaque copy, or state in or with each Opaque copy
+a computer-network location from which the general network-using
+public has access to download using public-standard network protocols
+a complete Transparent copy of the Document, free of added material.
+If you use the latter option, you must take reasonably prudent steps,
+when you begin distribution of Opaque copies in quantity, to ensure
+that this Transparent copy will remain thus accessible at the stated
+location until at least one year after the last time you distribute an
+Opaque copy (directly or through your agents or retailers) of that
+edition to the public.
+
+It is requested, but not required, that you contact the authors of the
+Document well before redistributing any large number of copies, to give
+them a chance to provide you with an updated version of the Document.
+
+\section{Modifications}
+\label{FDL:sec4}
+
+You may copy and distribute a Modified Version of the Document under
+the conditions of sections 2 and 3 above, provided that you release
+the Modified Version under precisely this License, with the Modified
+Version filling the role of the Document, thus licensing distribution
+and modification of the Modified Version to whoever possesses a copy
+of it. In addition, you must do these things in the Modified Version:
+
+\begin{itemize}
+
+\item[A.] Use in the Title Page (and on the covers, if any) a title
+distinct from that of the Document, and from those of previous versions
+(which should, if there were any, be listed in the History section of the
+Document). You may use the same title as a previous version if the
+original publisher of that version gives permission.
+
+\item[B.] List on the Title Page, as authors, one or more persons or
+entities responsible for authorship of the modifications in the Modified
+Version, together with at least five of the principal authors of the
+Document (all of its principal authors, if it has fewer than five), unless
+they release you from this requirement.
+
+\item[C.] State on the Title page the name of the publisher of the Modified
+Version, as the publisher.
+
+\item[D.] Preserve all the copyright notices of the Document.
+
+\item[E.] Add an appropriate copyright notice for your modifications
+adjacent to the other copyright notices.
+
+\item[F.] Include, immediately after the copyright notices, a license
+notice giving the public permission to use the Modified Version under the
+terms of this License, in the form shown in the Addendum below.
+
+\item[G.] Preserve in that license notice the full lists of Invariant
+Sections and required Cover Texts given in the Document’s license notice.
+
+\item[H.] Include an unaltered copy of this License.
+
+\item[I.] Preserve the section Entitled “History”, Preserve its Title, and
+add to it an item stating at least the title, year, new authors, and
+publisher of the Modified Version as given on the Title Page. If there is
+no section Entitled “History” in the Document, create one stating the
+title, year, authors, and publisher of the Document as given on its Title
+Page, then add an item describing the Modified Version as stated in the
+previous sentence.
+
+\item[J.] Preserve the network location, if any, given in the Document for
+public access to a Transparent copy of the Document, and likewise the
+network locations given in the Document for previous versions it was based
+on. These may be placed in the “History” section. You may omit a network
+location for a work that was published at least four years before the
+Document itself, or if the original publisher of the version it refers to
+gives permission.
+
+\item[K.] For any section Entitled “Acknowledgements” or “Dedications”,
+Preserve the Title of the section, and preserve in the section all the
+substance and tone of each of the contributor acknowledgements and/or
+dedications given therein.
+
+\item[L.] Preserve all the Invariant Sections of the Document, unaltered in
+their text and in their titles. Section numbers or the equivalent are not
+considered part of the section titles.
+
+\item[M.] Delete any section Entitled “Endorsements”. Such a section may
+not be included in the Modified Version.
+
+\item[N.] Do not retitle any existing section to be Entitled
+“Endorsements” or to conflict in title with any Invariant Section.
+
+\item[O.] Preserve any Warranty Disclaimers.
+
+\end{itemize}
+
+If the Modified Version includes new front-matter sections or appendices
+that qualify as Secondary Sections and contain no material copied from the
+Document, you may at your option designate some or all of these sections as
+invariant. To do this, add their titles to the list of Invariant Sections
+in the Modified Version’s license notice. These titles must be distinct
+from any other section titles.
+
+You may add a section Entitled “Endorsements”, provided it contains
+nothing but endorsements of your Modified Version by various parties~— for
+example, statements of peer review or that the text has been approved by an
+organization as the authoritative definition of a standard.
+
+You may add a passage of up to five words as a Front-Cover Text, and a
+passage of up to 25 words as a Back-Cover Text, to the end of the list of
+Cover Texts in the Modified Version. Only one passage of Front-Cover Text
+and one of Back-Cover Text may be added by (or through arrangements made
+by) any one entity. If the Document already includes a cover text for the
+same cover, previously added by you or by arrangement made by the same
+entity you are acting on behalf of, you may not add another; but you may
+replace the old one, on explicit permission from the previous publisher
+that added the old one.
+
+The author(s) and publisher(s) of the Document do not by this License give
+permission to use their names for publicity for or to assert or imply
+endorsement of any Modified Version.
+
+\section{Combining Documents}
+\label{FDL:sec5}
+
+You may combine the Document with other documents released under this
+License, under the terms defined in \autoref{FDL:sec4} above for modified
+versions, provided that you include in the combination all of the Invariant
+Sections of all of the original documents, unmodified, and list them all as
+Invariant Sections of your combined work in its license notice, and that
+you preserve all their Warranty Disclaimers.
+
+The combined work need only contain one copy of this License, and multiple
+identical Invariant Sections may be replaced with a single copy. If there
+are multiple Invariant Sections with the same name but different contents,
+make the title of each such section unique by adding at the end of it, in
+parentheses, the name of the original author or publisher of that section
+if known, or else a unique number. Make the same adjustment to the section
+titles in the list of Invariant Sections in the license notice of the
+combined work.
+
+In the combination, you must combine any sections Entitled “History” in the
+various original documents, forming one section Entitled “History”;
+likewise combine any sections Entitled “Acknowledgements”, and any sections
+Entitled “Dedications”. You must delete all sections Entitled
+“Endorsements”.
+
+\section{Collection of Documents}
+\label{FDL:sec6}
+
+You may make a collection consisting of the Document and other documents
+released under this License, and replace the individual copies of this
+License in the various documents with a single copy that is included in
+the collection, provided that you follow the rules of this License for
+verbatim copying of each of the documents in all other respects.
+
+You may extract a single document from such a collection, and distribute
+it individually under this License, provided you insert a copy of this
+License into the extracted document, and follow this License in all
+other respects regarding verbatim copying of that document.
+
+\section{Aggregation with Independent Works}
+\label{FDL:sec7}
+
+A compilation of the Document or its derivatives with other separate and
+independent documents or works, in or on a volume of a storage or
+distribution medium, is called an “aggregate” if the copyright resulting
+from the compilation is not used to limit the legal rights of the
+compilation’s users beyond what the individual works permit. When the
+Document is included in an aggregate, this License does not apply to the
+other works in the aggregate which are not themselves derivative works of
+the Document.
+
+If the Cover Text requirement of \autoref{FDL:sec3} is applicable to these
+copies of the Document, then if the Document is less than one half of the
+entire aggregate, the Document’s Cover Texts may be placed on covers that
+bracket the Document within the aggregate, or the electronic equivalent of
+covers if the Document is in electronic form. Otherwise they must appear
+on printed covers that bracket the whole aggregate.
+
+\section{Translation}
+\label{FDL:sec8}
+
+Translation is considered a kind of modification, so you may distribute
+translations of the Document under the terms of \autoref{FDL:sec4}.
+Replacing Invariant Sections with translations requires special permission
+from their copyright holders, but you may include translations of some or
+all Invariant Sections in addition to the original versions of these
+Invariant Sections. You may include a translation of this License, and all
+the license notices in the Document, and any Warranty Disclaimers,
+provided that you also include the original English version of this License
+and the original versions of those notices and disclaimers. In case of a
+disagreement between the translation and the original version of this
+License or a notice or disclaimer, the original version will prevail.
+
+If a section in the Document is Entitled “Acknowledgements”, “Dedications”,
+or “History”, the requirement (\autoref{FDL:sec4}) to Preserve its Title
+(section~1) will typically require changing the actual title.
+
+\section{Termination}
+\label{FDL:sec9}
+
+You may not copy, modify, sublicense, or distribute the Document except
+as expressly provided for under this License. Any other attempt to
+copy, modify, sublicense or distribute the Document is void, and will
+automatically terminate your rights under this License. However,
+parties who have received copies, or rights, from you under this
+License will not have their licenses terminated so long as such
+parties remain in full compliance.
+
+\section{Future Revisions of this License}
+\label{FDL:sec10}
+
+The Free Software Foundation may publish new, revised versions
+of the GNU Free Documentation License from time to time. Such new
+versions will be similar in spirit to the present version, but may
+differ in detail to address new problems or concerns. See
+\href{http://www.gnu.org/copyleft/}{http://www.gnu.org/copyleft/}.
+
+Each version of the License is given a distinguishing version number.
+If the Document specifies that a particular numbered version of this
+License “or any later version” applies to it, you have the option of
+following the terms and conditions either of that specified version or
+of any later version that has been published (not as a draft) by the
+Free Software Foundation. If the Document does not specify a version
+number of this License, you may choose any version ever published (not
+as a draft) by the Free Software Foundation.
+
+\section*{ADDENDUM: How to use this License for your documents}
+\phantomsection
+\addcontentsline{toc}{section}{ADDENDUM: How to use this License for
+your documents}
+
+To use this License in a document you have written, include a copy of
+the License in the document and put the following copyright and
+license notices just after the title page:
+
+\bigskip
+
+\begin{quote}
+Copyright © YEAR YOUR NAME.
+Permission is granted to copy, distribute and/or modify this document
+under the terms of the GNU Free Documentation License, Version 1.2
+or any later version published by the Free Software Foundation;
+with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts.
+A copy of the license is included in the section entitled “GNU
+Free Documentation License”.
+\end{quote}
+
+\bigskip
+
+If you have Invariant Sections, Front-Cover Texts and Back-Cover Texts,
+replace the “with \dots\ Texts.” line with this:
+
+\bigskip
+
+\begin{quote}
+with the Invariant Sections being LIST THEIR TITLES, with the
+Front-Cover Texts being LIST, and with the Back-Cover Texts being LIST.
+\end{quote}
+
+\bigskip
+
+If you have Invariant Sections without Cover Texts, or some other
+combination of the three, merge those two alternatives to suit the
+situation.
+
+If your document contains nontrivial examples of program code, we
+recommend releasing these examples in parallel under your choice of
+free software license, such as the GNU General Public License,
+to permit their use in free software.
+
+\end{document}
+