GFK: Only accept topic links with format /topic/* (#5572)

* Update Knowledge CI to only accept /topic/*

* Update all topic links to /topic/*

diff --git a/.github/workflows/knowledge_graph.py b/.github/workflows/knowledge_graph.py
index 563c30612d13d61efc06ba006c45ed1142070585..162322536f5a64cf4178391d28d278380fbd317a 100644 (file)
--- a/.github/workflows/knowledge_graph.py
+++ b/.github/workflows/knowledge_graph.py
@@ -20,10 +20,6 @@ def _topic_target_to_path(_: Set[str], target: str) -> str:
     return Path(target.replace("/topic/", "topics/")) / "topic.textproto"
 
 
-def _topics_target_to_path(_: Set[str], target: str) -> str:
-    return Path(target.replace("/topics/", "topics/")) / "topic.textproto"
-
-
 def _module_target_to_path(_: Set[str], target: str) -> str:
     return Path(target.replace("/module/", "modules/")) / "module.textproto"
 
@@ -58,9 +54,7 @@ def _any_unique_name_to_path(names: Mapping[str, str], target: str) -> str:
 
 _LINK_TO_PATH = [
     (re.compile("^/glossary/"), _glossary_target_to_path),
-    # TODO accept only one of /topic and /topics
     (re.compile("^/topic/"), _topic_target_to_path),
-    (re.compile("^/topics/"), _topics_target_to_path),
     (re.compile("^/lesson/"), _lesson_target_to_path),
     (re.compile("^/module/"), _module_target_to_path),
     (re.compile("[^/]+"), _any_unique_name_to_path)

diff --git a/cc-by-sa/knowledge/modules/choosing_type/lessons/a_checklist_for_choosing_type/content.md b/cc-by-sa/knowledge/modules/choosing_type/lessons/a_checklist_for_choosing_type/content.md
index 1f5f0c6cf98a9065f7e65655dd12e34e93ea85f9..2802f930c924435bf48651e80f4ce7638153cbb7 100644 (file)
--- a/cc-by-sa/knowledge/modules/choosing_type/lessons/a_checklist_for_choosing_type/content.md
+++ b/cc-by-sa/knowledge/modules/choosing_type/lessons/a_checklist_for_choosing_type/content.md
@@ -1,4 +1,4 @@
-Every article in [our “Choosing type” section](/module/choosing_type) aims to be a useful guide on a specific aspect of choosing type. For this article, we’re condensing all of that information into one handy checklist—a checklist that can be referenced every single time we ever need to choose a [typeface](/glossary/typeface). Whether you’re selecting the first typeface for a new project, [pairing](/topics/pairing_type) a secondary typeface after the primary selection has been made, updating a brand with something new that retains the feel of the original, or anything in between, this checklist can act as a universal guide.
+Every article in [our “Choosing type” section](/module/choosing_type) aims to be a useful guide on a specific aspect of choosing type. For this article, we’re condensing all of that information into one handy checklist—a checklist that can be referenced every single time we ever need to choose a [typeface](/glossary/typeface). Whether you’re selecting the first typeface for a new project, [pairing](/topic/pairing_type) a secondary typeface after the primary selection has been made, updating a brand with something new that retains the feel of the original, or anything in between, this checklist can act as a universal guide.
 
 We’ll start off with the checklist itself—which is also [available on GitHub](https://github.com/elliotjaystocks/choosing-type-checklist)—and then spend some time diving into each part of it.
 
@@ -203,7 +203,7 @@ While rare, it’s possible to have a font that checks all of our boxes, but lac
 
 ## 4. The fonts are usable in the situation(s) required
 
-As well as features being technically present in the files, there are a couple more final considerations when it comes to [pairing type](/topics/pairing_type) and font [licensing](/glossary/licensing):
+As well as features being technically present in the files, there are a couple more final considerations when it comes to [pairing type](/topic/pairing_type) and font [licensing](/glossary/licensing):
 
 ### If serving as a secondary typeface to a primary choice, there’s a suitable balance between distinction and harmony
 

diff --git a/cc-by-sa/knowledge/modules/choosing_type/lessons/exploring_x_height_the_em_square/content.md b/cc-by-sa/knowledge/modules/choosing_type/lessons/exploring_x_height_the_em_square/content.md
index 516cb4c3a86223fce60935b3cd1e455bedfd1c71..2b41732a9c8d27905e31c8691ecc89a38d59fce0 100644 (file)
--- a/cc-by-sa/knowledge/modules/choosing_type/lessons/exploring_x_height_the_em_square/content.md
+++ b/cc-by-sa/knowledge/modules/choosing_type/lessons/exploring_x_height_the_em_square/content.md
@@ -5,7 +5,7 @@ To start, it’s important to know that when [typefaces](/glossary/typeface) are
 
 ![A diagram showing the different vertical metrics in a typeface.](images/2.9.1.svg)
 
-In this article, we’ll focus on the x-height—the height of a typeface’s [lowercase](/glossary/uppercase_lowercase) [letterforms](/glossary/letterform) relative to the em square—and look at how it relates to the em square when considering [type pairings](/topics/pairing_type).
+In this article, we’ll focus on the x-height—the height of a typeface’s [lowercase](/glossary/uppercase_lowercase) [letterforms](/glossary/letterform) relative to the em square—and look at how it relates to the em square when considering [type pairings](/topic/pairing_type).
 
 <figure>
 

diff --git a/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_based_on_their_construction_using_the_font_matrix/content.md b/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_based_on_their_construction_using_the_font_matrix/content.md
index 17eb40e96a9ab7fe07297026a4f4127f1108836a..e8a4edabbfc41e48621c702a1b248c0bc02de914 100644 (file)
--- a/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_based_on_their_construction_using_the_font_matrix/content.md
+++ b/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_based_on_their_construction_using_the_font_matrix/content.md
@@ -1,4 +1,4 @@
-The single biggest challenge we face when [pairing type](/topics/pairing_type) is choosing a secondary [typeface](/glossary/typeface) that’s different enough from our primary choice, but not _too_ different, as described in our article “[Pairing typefaces](/lesson/pairing_typefaces)”. This can be a challenge, because it’s not always clear where the similarities and the differences should lie.\r
+The single biggest challenge we face when [pairing type](/topic/pairing_type) is choosing a secondary [typeface](/glossary/typeface) that’s different enough from our primary choice, but not _too_ different, as described in our article “[Pairing typefaces](/lesson/pairing_typefaces)”. This can be a challenge, because it’s not always clear where the similarities and the differences should lie.\r
 \r
 In this article, we want to share with you the concept of the font matrix—an approach based on the work of typography professor [Indra Kupferschmid](https://de.wikipedia.org/wiki/Indra_Kupferschmid). Understanding it can change your perception of type and give you a framework to make better decisions when pairing typefaces.\r
 \r

diff --git a/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_by_the_same_type_designer_or_type_foundry/content.md b/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_by_the_same_type_designer_or_type_foundry/content.md
index 56a6400b330d93ea9603f55740fdf096552fb663..b504898118c56e8f6af1780fd4667268c95b9d1e 100644 (file)
--- a/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_by_the_same_type_designer_or_type_foundry/content.md
+++ b/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_by_the_same_type_designer_or_type_foundry/content.md
@@ -1,5 +1,5 @@
 
-Choosing [typefaces](/glossary/typeface) designed by the same [type designer](/glossary/type_designer) or [type foundry](/glossary/type_foundry) makes life a little easier when [pairing type](/topics/pairing_type). While it’s certainly a generalization, we often find that type designers have certain stylistic ways of drawing [letterforms](/glossary/letterform), and certain technical ways of creating [font](/glossary/font) files.
+Choosing [typefaces](/glossary/typeface) designed by the same [type designer](/glossary/type_designer) or [type foundry](/glossary/type_foundry) makes life a little easier when [pairing type](/topic/pairing_type). While it’s certainly a generalization, we often find that type designers have certain stylistic ways of drawing [letterforms](/glossary/letterform), and certain technical ways of creating [font](/glossary/font) files.
 
 If two artists are drawing the same exact object—for instance, an apple—in the same exact medium, they will still produce very different results because of the micro decisions they make as they try to accurately render the apple. Those familiar with the artists’ work would be able to tell their work apart. The same is true for type designers, whose “hand” is possible to spot in their typefaces.
 

diff --git a/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_within_a_family_superfamily/content.md b/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_within_a_family_superfamily/content.md
index 069ad02f8fe92d71a016755cc18dec690de98145..f418f6ab6b7cc5270c852d778fa9994272f8207f 100644 (file)
--- a/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_within_a_family_superfamily/content.md
+++ b/cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces_within_a_family_superfamily/content.md
@@ -81,4 +81,4 @@ A superfamily like Breve offers so many options, in many scenarios it would make
 
 </figure>
 
-However, as we’ve emphasised in all [type pairing articles](/topics/pairing_type), we should only introduce a secondary typeface if it can do something our primary typeface cannot.
+However, as we’ve emphasised in all [type pairing articles](/topic/pairing_type), we should only introduce a secondary typeface if it can do something our primary typeface cannot.

diff --git a/cc-by-sa/knowledge/modules/introducing_type/lessons/making_sense_of_typographic_classifications/content.md b/cc-by-sa/knowledge/modules/introducing_type/lessons/making_sense_of_typographic_classifications/content.md
index 0bd9f254c3d7f4d54370d264683fc1602cf338c1..f1ee3e3036dbba56c35a8a665fde6fc2216f6c91 100644 (file)
--- a/cc-by-sa/knowledge/modules/introducing_type/lessons/making_sense_of_typographic_classifications/content.md
+++ b/cc-by-sa/knowledge/modules/introducing_type/lessons/making_sense_of_typographic_classifications/content.md
@@ -57,4 +57,4 @@ The first is when choosing a primary typeface for a project. When assessing its
 
 </figure>
 
-The second common scenario that benefits from an awareness of historical classification is when we’re [pairing type](/topics/pairing_type). If a particular period in time is alluded to in the style of the primary typeface, that theme should probably be continued in additional typeface choices, too, unless we’re intentionally attempting to contrast that style.
+The second common scenario that benefits from an awareness of historical classification is when we’re [pairing type](/topic/pairing_type). If a particular period in time is alluded to in the style of the primary typeface, that theme should probably be continued in additional typeface choices, too, unless we’re intentionally attempting to contrast that style.