From: Elliot Jay Stocks Date: Fri, 24 Mar 2023 15:54:20 +0000 (+0000) Subject: GFK 2023 Q1 pre-launch fixes (#6064) X-Git-Url: http://git.ipfire.org/cgi-bin/gitweb.cgi?a=commitdiff_plain;h=c768c4e4cef337e7cb2cce94bfbe50d3e33ed072;p=thirdparty%2Fgoogle%2Ffonts.git GFK 2023 Q1 pre-launch fixes (#6064) * New thumbnail img for `adding_fonts_to_google_docs` * Adding `syllabics` into module flow * Extra inter-Glossary links for `spacing` entry * Renaming `syllabics` module * Numerous structural edits to Syllabics content * Fixing new `syllabics` module slug on Homepage * Adding Glossary links + better formatting for Syllabics articles * New PNG exports for illos with maps in * Placing new PNG maps into markup * Better `excerpt` (intro) for Syllabics module * Clearer intro * Correcting slug --- diff --git a/cc-by-sa/knowledge/glossary/terms/spacing/content.md b/cc-by-sa/knowledge/glossary/terms/spacing/content.md index bbc5c85937..5770290f48 100644 --- a/cc-by-sa/knowledge/glossary/terms/spacing/content.md +++ b/cc-by-sa/knowledge/glossary/terms/spacing/content.md @@ -1,4 +1,4 @@ -In type design, spacing refers to the act of setting the horizontal space around each glyph. This is different from kerning, where the type designer adds specific rules (known as [kerning data](/glossary/kerning_kerning_pairs)) to determine the space between two or more specific glyphs. However, the reference to a “well-spaced font” generally means the spacing is both visually consistent and appropriate (i.e., is not too loose or too tight) for the typical size the font is expected to be used at. +In type design, spacing refers to the act of setting the horizontal space around each [glyph](/glossary/glyph). This is different from kerning, where the type designer adds specific rules (known as [kerning data](/glossary/kerning_kerning_pairs)) to determine the space between two or more specific glyphs. However, the reference to a “well-spaced font” generally means the spacing is both visually consistent and appropriate (i.e., is not too loose or too tight) for the typical size the font is expected to be used at.
@@ -7,4 +7,4 @@ In type design, spacing refers to the act of setting the horizontal space around
The blue box illustrates the internal spacing within the “x” glyph; the red boxes illustrate the external spacing. Note how the left and right values are intentionally unequal.
-When *setting* type, spacing can also refer to the act of making any typographic adjustment that affects space, such as leading (the vertical space between two lines of type), tracking (the overall horizontal spacing between glyphs in a block of text), or kerning (the specific horizontal spacing between two or more glyphs). \ No newline at end of file +When *setting* type, spacing can also refer to the act of making any typographic adjustment that affects space, such as [leading](/glossary/line_height_leading) (the vertical space between two lines of type), [tracking](/glossary/tracking_letter_spacing) (the overall horizontal spacing between glyphs in a block of text), or kerning (the specific horizontal spacing between two or more glyphs). \ No newline at end of file diff --git a/cc-by-sa/knowledge/knowledge.textproto b/cc-by-sa/knowledge/knowledge.textproto index c2b0b5a34b..bf2372c0ea 100644 --- a/cc-by-sa/knowledge/knowledge.textproto +++ b/cc-by-sa/knowledge/knowledge.textproto @@ -3,6 +3,7 @@ modules: "history_of_type" modules: "type_in_china_japan_and_korea" modules: "readability_and_accessibility" modules: "designing_hangeul" +modules: "the_syllabics_writing_system_of_north_america" modules: "introducing_type" modules: "choosing_type" modules: "using_type" diff --git a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/thumbnail.svg b/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/thumbnail.svg index 74d4504b30..7741dcef9a 100644 --- a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/thumbnail.svg +++ b/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/thumbnail.svg @@ -1 +1,13 @@ - \ No newline at end of file + + + + + + + + + + + + + diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/an_introduction_to_syllabics_typography/images/article_01_figure_01_png.png b/cc-by-sa/knowledge/modules/syllabics/lessons/an_introduction_to_syllabics_typography/images/article_01_figure_01_png.png deleted file mode 100644 index cc6d4a605e..0000000000 Binary files a/cc-by-sa/knowledge/modules/syllabics/lessons/an_introduction_to_syllabics_typography/images/article_01_figure_01_png.png and /dev/null differ diff --git a/cc-by-sa/knowledge/modules/syllabics/module.textproto b/cc-by-sa/knowledge/modules/syllabics/module.textproto deleted file mode 100644 index e338348136..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/module.textproto +++ /dev/null @@ -1,7 +0,0 @@ -name: "Syllabics" -lessons: "an_introduction_to_syllabics_typography" -lessons: "algonquian_syllabics" -lessons: "inuktut_syllabics" -lessons: "dene_syllabics" -lessons: "dakelh_carrier_syllabics" -excerpt: "The Canadian Syllabics (often referred to simply as the “Syllabics”) is a writing system used by many different Indigenous language communities throughout Canada. The Syllabics are unique in how they represent written language, and many communities have local requirements and preferences in how their Syllabics should appear and function as text. This module presents both an overview of Syllabics typography to provide an overview of general principles used by all communities, as well as specific recommendations to address the local typographic and orthographic requirements and preferences of specific language communities." diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/algonquian_syllabics/content.md b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/algonquian_syllabics/content.md similarity index 90% rename from cc-by-sa/knowledge/modules/syllabics/lessons/algonquian_syllabics/content.md rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/algonquian_syllabics/content.md index 07a34e6dc6..4e82a9fcc6 100644 --- a/cc-by-sa/knowledge/modules/syllabics/lessons/algonquian_syllabics/content.md +++ b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/algonquian_syllabics/content.md @@ -14,7 +14,7 @@ An early and major printing center for the Algonquian Syllabics was Moose Factor
-![A map showing Manitoba and Ontario Ojibwe communities](images/article_02_figure_02.svg) +![A map showing Manitoba and Ontario Ojibwe communities](images/article_02_figure_02_png.png)
Anishinaabe (Ojibwe) communities (red); Nêhiyawak (Cree) communities (blue). The above map shows the distribution of Ojibway dialects in Northern Ontario that use Syllabics as their primary writing system, depicting their preference for the form of finals (ᐊᓄᑭᐧᐃᓐ, ᐊᓄᑭᐧᐃᐣ, etc.), as well as the placement of the “w dot”. Neighboring Cree communities have been shown in order to show the relationship in preferences with the Ojibway.
@@ -40,7 +40,7 @@ There is variation within Plains Cree communities in terms of the use of differe
Showing the two variations in the form of the Plains Cree y final.
-Further, when the y-final follows a w-dot modifier mark in these communities using the superposed (ᐝ) “y final”, the double dots combine to form a colon character. There is variation in terms of the shaping of this combination “w + y” final sequence. Some texts show this character as the same superposed sequence as the alternative “y final”, while others distinguish the sequence by rendering it as a ‘kerned’ colon-style symbol. +Further, when the y-final follows a w-dot modifier mark in these communities using the superposed (ᐝ) “y final”, the double dots combine to form a colon character. There is variation in terms of the shaping of this combination “w + y” final sequence. Some texts show this character as the same superposed sequence as the alternative “y final”, while others distinguish the sequence by rendering it as a kerned colon-style symbol.
@@ -66,13 +66,11 @@ The primary local preference that Naskapi requires is the combination of the syl The typography of the Syllabics may lack a formal body of literature that users can consult; however, professional typographic implementations can be achieved by observing the practices of local communities in both historical and contemporary documents. By adding to the understanding of the inherent conventions that govern the Syllabics across all of the orthographies that use the script, it is possible to deliver solutions that accommodate the best possible typographic experiences for all readers of this writing system, in their respective languages. -## Image Sources: +## Endnotes -Base of map vector artwork designed by Freepik, accessed 7 May 2020, https://www.freepik.com/free-photos-vectors/travel +### Works sourced -## Works Sourced: - -The following sources were consulted in the analysis and preparation of illustration materials in this article: +Base of map vector artwork designed by [Freepik](https://www.freepik.com/free-photos-vectors/travel), accessed 7 May 2020. [British and Foreign Bible Society], *The four Gospels and the Acts of the Apostles*. British and Foreign Bible Society, London, 1903 @@ -87,7 +85,3 @@ John Maclean, *James Evans: Inventor of the Syllabic system of the Cree language [Wawatay News], *ᐗᐗᑌ ᐊᒋᒧᐎᓇᐣ / Wawatay News*, 17 July, 2020 Vol.47, No. 7, PM#0382659799 Arok Wolvengrey, *ᐊᐎᔹᑖᒋᐏᓂᓴ / wawiyatācimowinisa / Funny little stories*. University of Regina Press, 2007. - -## Acknolwedgements - -The author owes much gratitude to ᓂᓚᐅᓛᖅ ᐊᒡᓘᒃᑲᖅ (Miriam Nilaulaaq Aglukkaq), ᑕᒪᓕᒃ (Janet Tamalik McGrath), ᐊᕐᓇᐅᔪᖅ ᐊᓗᑭ (Arnaoyok Alookee), ᕿ’ᖓᖅᑐᖅ ᐃᑦᑐᓗᒃ (Qi’ngaqtuq Kevin Eetoolook), ᐊᑏᒪ 𑪴ᓪᓚᕆ (Attima Hadlari), ᗮᘧᐣᙒᔆ ᗮᘦᐣᙆ (Francois (Guy) Prince), ᑓᐣᘆᔆ ᗷᒼᗫᐩᘧᐣᐪ (Dennis Cumberland), and Bill Jancewicz, who kindly shared their knowledge and discussed the concepts, local preferences and requirments, and best practices for Syllabics typography presented in this module with the author. diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/algonquian_syllabics/images/article_02_figure_01.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/algonquian_syllabics/images/article_02_figure_01.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/algonquian_syllabics/images/article_02_figure_01.svg rename to 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a/cc-by-sa/knowledge/modules/syllabics/lessons/an_introduction_to_syllabics_typography/content.md +++ b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/an_introduction_to_syllabics_typography/content.md @@ -1,13 +1,15 @@ -The Syllabics—sometimes referred to as the Canadian Aboriginal Syllabics—is a writing system used by several Indigenous language communities in Canada and the United States, including nêhiyawêwin (Cree), Anishinaabemowin (Ojibwe), Inuktut (Inuktitut), Dakelh (Carrier), iyuw iyimuun (Naskapi), and Saı́yısı́ dëne (Sayisi Dene). Syllabics represent the phonetic structure of Indigenous languages through a unique system of rotation in which vowels are indicated by the orientation of the base character across four possible positions (ᕓ=fe, ᕗ=fo, ᕙ=fa, ᕕ=fi). Consonants are represented by small, raised characters, which may or may not be superscript versions of the base syllable (ᓇᓂᓄᓀᐣ or ᓇᓂᓄᓀᓐ). A range of full-size Syllabic characters and its corresponding final character are called a series. Diacritics are placed above syllables mark vowel extensions, which take the form of a dot or ring mark, depending on the orthography (ᕖ ᕔ). +The Syllabics—sometimes referred to as the Canadian Aboriginal Syllabics—is a [writing system](/glossary/script_writing_system) used by several Indigenous language communities in Canada and the United States, including nêhiyawêwin (Cree), Anishinaabemowin (Ojibwe), Inuktut (Inuktitut), Dakelh (Carrier), iyuw iyimuun (Naskapi), and Saı́yısı́ dëne (Sayisi Dene). + +Before we start looking at the construction of the script, let’s first look at the geographic distribution of the various groups and sub-groups of the Syllabics:
![Syllabics-using languages community map](images/article_01_figure_01_png.png)
-
Above, a map depicting the geographic distribution of the three major Syllabics orthographic / typographic traditions: the Algonquian Syllabics, Inuktut Syllabics, and Dene Syllabics. Additionally, the historical Blackfoot Syllabics system—while based on the pattern of Cree Syllabics orthographically—deviates visually enough from these three major systems to be considered a graphic isolate.
+
A map depicting the geographic distribution of the three major Syllabics orthographic / typographic traditions: the Algonquian Syllabics, Inuktut Syllabics, and Dene Syllabics. Additionally, the historical Blackfoot Syllabics system—while based on the pattern of Cree Syllabics orthographically—deviates visually enough from these three major systems to be considered a graphic isolate.
-### Algonquian Syllabics +#### Algonquian Syllabics Ojibwe / Anishinaabemowin Syllabics (ᐊᓂᔑᓇᐯᒧᐎᐣ) @@ -32,7 +34,7 @@ Eastern Cree Syllabics (ᓀᐦᐃᔭᐍᐏᐣ) - Northern East Cree (ᐄᔨᔫ ᐊᔨᒨᓐ) - Naskapi / Iyuw Iyimuun (ᐃᔪᐤ ᐃᔨᒧᐅᓐ) -### Inuktut syllabics +#### Inuktut syllabics Eastern Canadian Inuktut (ᐃᓄᒃᑎᑐᑦ) @@ -58,7 +60,7 @@ Western Canadian Inuktut - Nattilingmiutut (ᓇᑦᑎᓕᖕᒥᐅᑐᑦ) -### Dene Syllabics +#### Dene Syllabics Dulk wah'ke (ᑐᑊᘁᗕᑋᗸ) @@ -78,7 +80,7 @@ General Dene Syllabics - Shıhgot’ıne / Shúhta (ᗰᑋᑯᑎᑊᓀ) - South Slavey / Dene K'e (ᑌᓀ ᒐ) -### Graphic Isolate +#### Graphic Isolate Blackfoot / Siksiká (ᓱᖽᐧᖿ) @@ -87,7 +89,11 @@ Blackfoot / Siksiká (ᓱᖽᐧᖿ) - Aapátohsipikani / Northern Piegan - Aamsskáápipikani / Southern Piegan -In order to grasp the scope of local typographic variation in the Syllabics script, we need to first understand the fundamental styles that exist within the system, how Syllabics spread to communities across the continent, the uses of the Syllabics in these communities—both historical and contemporary—and the encoding practice that was undertaken by the original script encoding committee that developed the Unified Canadian Syllabics repertoire within the Unicode Standard. By exploring these factors, and the context behind them, we can begin to see why particular typographic preferences exist across various communities. This also helps explain why some communities’ preferences are clearly met within the current digital text standards (Unicode), and why others are not. +## The fundamentals of Syllabics‘ construction + +Syllabics represent the phonetic structure of Indigenous languages through a unique system of rotation in which vowels are indicated by the orientation of the base [character](/glossary/character) across four possible positions (ᕓ=fe, ᕗ=fo, ᕙ=fa, ᕕ=fi). Consonants are represented by small, raised characters, which may or may not be superscript versions of the base syllable (ᓇᓂᓄᓀᐣ or ᓇᓂᓄᓀᓐ). A range of full-size Syllabic characters and its corresponding final character are called a series. Diacritics are placed above syllables mark vowel extensions, which take the form of a dot or ring mark, depending on the orthography (ᕖ ᕔ). + +In order to grasp the scope of local typographic variation in the Syllabics script, we need to first understand the fundamental styles that exist within the system, how Syllabics spread to communities across the continent, the uses of the Syllabics in these communities—both historical and contemporary—and the encoding practice that was undertaken by the original script encoding committee that developed the Unified Canadian Syllabics repertoire within the [Unicode](/glossary/unicode) Standard. By exploring these factors, and the context behind them, we can begin to see why particular typographic preferences exist across various communities. This also helps explain why some communities’ preferences are clearly met within the current digital text standards (Unicode), and why others are not. The Syllabics system—even given its great variability in local preferences and conventions—is still anchored by general typographic conventions that are present across all orthographies, and that are Syllabics-specific. In order to implement them correctly, we need to respect both the core typographic principles and variations in local typographies: @@ -161,13 +167,13 @@ A similar situation exists within the stylistic spectrum of the Syllabics, where
A diagram depicting an Oji-Cree word, showing a direct comparison between the round form (top) and square form (bottom) Syllabics styles. The Round Form is characterized by the variability in the height of the full-size syllabics, with variation between a medial and top line position. The Square form by contrast is uniform in height, without medial height characters, and generally uniform character width proportions.
-The name ‘round’ in the round form style comes from the open, circular forms used in many of the series. This was the original style to appear in the first printed Syllabics texts and it is the most common style of Syllabics in use, which has led to it becoming the default style within the Unified Canadian Aboriginal Syllabics code charts. +The name “round” in the round form style comes from the open, circular forms used in many of the series. This was the original style to appear in the first printed Syllabics texts and it is the most common style of Syllabics in use, which has led to it becoming the default style within the Unified Canadian Aboriginal Syllabics code charts. -The “square” form style is characterized by the uniformity of all character heights, with syllabic characters all reaching the top line height. All characters also share an optically uniform width proportion, with the visual ratio of width-to-height being roughly 1:1, giving the character set a ‘square’ appearance. This style was primarily used by French Catholic missionaries in Western Canada who were importing their printing equipment from France, with their type being supplied from Brussels. +The “square” form style is characterized by the uniformity of all character heights, with syllabic characters all reaching the top line height. All characters also share an optically uniform width proportion, with the visual ratio of width-to-height being roughly 1:1, giving the character set a square appearance. This style was primarily used by French Catholic missionaries in Western Canada who were importing their printing equipment from France, with their type being supplied from Brussels. ## Word space -In order for Syllabics word images to be legible and easily read in text settings of any kind, the word space character must be much wider in comparison to the conventional Latin word space. **1** +In order for Syllabics word images to be legible and easily read in text settings of any kind, the word space character must be much wider in comparison to the conventional Latin word space.1 This wider word space is required primarily due to the very wide stance of the Syllabics system, exacerbated by the frequency of large, open counter spaces that result in pockets of whitespace throughout paragraphs of text. The space glyph in the Syllabics text must be roughly as wide as the width of the largest counterspaces (commonly, characters such as ᐃᐊᑎᑕ), allowing for word images to be clearly distinguished from one another. @@ -243,7 +249,7 @@ While the Syllabics possess a structure that features relative uniformity in the ## Punctuation marks -While it was noted above that there are script-specific Syllabics punctuation marks used by the Algonquian languages with an orthography in this writing system (the Syllabics full stop [᙮] and hyphen [᐀]), all orthographies within the Syllabics writing system utilize Latin script punctuation marks in text settings, including exclamation and question marks, parentheses, brackets, dashes and quotation marks. As revealed in the ‘Syllabics typographic grid’, the Syllabic glyph proportions should ideally be designed at 10–15% of the cap height, and therefore, the same Latin punctuation that is tailored for the Latin script will appear out of place when used with the Syllabics. To solve this, dedicated punctuation marks and special character glyphs should be available that are designed to suit the shorter height of the Syllabics, as well as the wider proportions of the Syllabics glyphs. This allows for a cleaner reading experience for Syllabics texts, especially in documents that have Syllabics and Latin settings running alongside one another, or in embedded settings, which is very common. +While it was noted above that there are script-specific Syllabics punctuation marks used by the Algonquian languages with an orthography in this writing system (the Syllabics full stop [᙮] and hyphen [᐀]), all orthographies within the Syllabics writing system utilize Latin script punctuation marks in text settings, including exclamation and question marks, parentheses, brackets, dashes and quotation marks. As revealed in the Syllabics typographic grid, the Syllabic glyph proportions should ideally be designed at 10–15% of the cap height, and therefore, the same Latin punctuation that is tailored for the Latin script will appear out of place when used with the Syllabics. To solve this, dedicated punctuation marks and special character glyphs should be available that are designed to suit the shorter height of the Syllabics, as well as the wider proportions of the Syllabics glyphs. This allows for a cleaner reading experience for Syllabics texts, especially in documents that have Syllabics and Latin settings running alongside one another, or in embedded settings, which is very common.
@@ -310,9 +316,9 @@ When working with romanizations of a language that also uses Syllabics, it is im ## Encoding: UCAS -The Canadian Syllabics were initially encoded in the Unicode Standard in 1999, originally in a range carrying the name [Unified Canadian Aboriginal Syllabics](https://unicode.org/charts/PDF/U1400.pdf). This was further supplemented by the range [UCAS Extended](https://unicode.org/charts/PDF/U18B0.pdf), published in 2008. This encoding model was an attempt to harmonize the many Indigenous languages and their Syllabics orthographies that used the writing system within one script range. The result was a character map that sought to avoid duplication of characters, making decisions to ‘unify’ the appearance and behavior of syllabic and finals characters that all languages would use. While this was the goal of the original script encoding committee, in practice, it has resulted in many orthographies—particularly the Dene and Dakelh (Carrier) Syllabics—not being accurately represented and supported. Many characters needed specifically for the Dakelh Syllabics were disunified in the original encoding for the Syllabics, but despite this, the representative glyphs were erroneously harmonized with the style of the more populous Inuktut and Algonquian Syllabics communities. Further, recent additions made to UCAS by Typotheque’s Syllabics project have added new syllabics characters required for Nattilingmiutut ([UCAS Extended-A](https://unicode.org/charts/PDF/U11AB0.pdf)), a dialect of Western Nunavut. +The Canadian Syllabics were initially encoded in the Unicode Standard in 1999, originally in a range carrying the name [Unified Canadian Aboriginal Syllabics](https://unicode.org/charts/PDF/U1400.pdf). This was further supplemented by the range [UCAS Extended](https://unicode.org/charts/PDF/U18B0.pdf), published in 2008. This encoding model was an attempt to harmonize the many Indigenous languages and their Syllabics orthographies that used the writing system within one script range. The result was a character map that sought to avoid duplication of characters, making decisions to unify the appearance and behavior of syllabic and finals characters that all languages would use. While this was the goal of the original script encoding committee, in practice, it has resulted in many orthographies—particularly the Dene and Dakelh (Carrier) Syllabics—not being accurately represented and supported. Many characters needed specifically for the Dakelh Syllabics were disunified in the original encoding for the Syllabics, but despite this, the representative glyphs were erroneously harmonized with the style of the more populous Inuktut and Algonquian Syllabics communities. Further, recent additions made to UCAS by Typotheque’s Syllabics project have added new syllabics characters required for Nattilingmiutut ([UCAS Extended-A](https://unicode.org/charts/PDF/U11AB0.pdf)), a dialect of Western Nunavut. -Another factor for typographers to be aware of is that multiple encodings for the Syllabics have existed in digital text—the Unicode Standard mentioned in this section, as well as support in the ASCII Standard—with corresponding fonts following these encoding models. This can result in significant errors in mappings of document texts encoded using ASCII, and intended for use with ‘legacy’ fonts that follow this Standard. +Another factor for typographers to be aware of is that multiple encodings for the Syllabics have existed in digital text—the Unicode Standard mentioned in this section, as well as support in the ASCII Standard—with corresponding fonts following these encoding models. This can result in significant errors in mappings of document texts encoded using ASCII, and intended for use with legacy fonts that follow this Standard. It is therefore important for users to be aware that local typographic variations exist within different communities, and to be able to identify the digital text encoding standard with which a given document has been created. A font should then be selected that addresses the local preferences of the particular community and that pays attention to the encoding model which was used to prepare the text to be typeset. @@ -333,16 +339,15 @@ Often, analyses of the Syllabics as a writing system focus on the major and mino The typography of the Syllabics may lack a formal body of literature that users can consult; however, professional typographic implementations can be achieved by observing the practices of local communities in both historical and contemporary documents. By adding to the understanding of the inherent conventions that govern the Syllabics across all of the orthographies that use the script, it is possible to deliver solutions that accommodate the best possible typographic experiences for all readers of this writing system, in their respective languages. -## Endnotes: +## Endnotes -**1** Bill Jancewicz, Algonquian Syllabics expert, notes that ‘Much more difficulty has been experienced however with the whitespace, in particular the word-space character, which is encoded in BJCree UNI at somewhat wider than an em. The Euphemia word space is much too narrow for legible reading of syllabics.’ -> Bill Jancewicz; in email correspondence with the author, Jancewicz described several issues surrounding digital Syllabics typography, including the space character. He describes in the above quote excerpt his solution for the space character in his BJCree UNI typeface, a freely available Syllabics typeface. ‘Proposal for additions to UCAS’, 24 August 2020, 9:40pm EST. +1. Bill Jancewicz, Algonquian Syllabics expert, notes (in email correspondence with the author) that “Much more difficulty has been experienced however with the whitespace, in particular the word-space character, which is encoded in BJCree UNI at somewhat wider than an em. The Euphemia word space is much too narrow for legible reading of syllabics.” -## Image Sources: -Base of map vector artwork designed by Freepik, accessed 7 May 2020, https://www.freepik.com/free-photos-vectors/travel +The author owes much gratitude to ᓂᓚᐅᓛᖅ ᐊᒡᓘᒃᑲᖅ (Miriam Nilaulaaq Aglukkaq), ᑕᒪᓕᒃ (Janet Tamalik McGrath), ᐊᕐᓇᐅᔪᖅ ᐊᓗᑭ (Arnaoyok Alookee), ᕿ’ᖓᖅᑐᖅ ᐃᑦᑐᓗᒃ (Qi’ngaqtuq Kevin Eetoolook), ᐊᑏᒪ 𑪴ᓪᓚᕆ (Attima Hadlari), ᗮᘧᐣᙒᔆ ᗮᘦᐣᙆ (Francois (Guy) Prince), ᑓᐣᘆᔆ ᗷᒼᗫᐩᘧᐣᐪ (Dennis Cumberland), and Bill Jancewicz, who kindly shared their knowledge and discussed the concepts, local preferences and requirments, and best practices for Syllabics typography presented in this module with the author. -## Works Sourced: -The following sources were consulted in the analysis and preparation of illustration materials in this article: +### Works sourced + +Base of map vector artwork designed by [Freepik](https://www.freepik.com/free-photos-vectors/travel), accessed 7 May 2020. William Carpenter Bompass, *Prayers, lessons, and hymns in the Tenni or Slavi language of the Indians of Mackenzie River in the North-West Territory of Canada*. London, Society for Promoting Christian Knowledge, 1900 @@ -376,7 +381,4 @@ Jean Baptiste Thibault, *ᐊᔭᒥᐁ ᓀᐃᔭᐁᐧᒪᓯᓇᐃᑲᐣ ᐊᔭ [Wawatay News], *ᐗᐗᑌ ᐊᒋᒧᐎᓇᐣ / Wawatay News*, 17 July, 2020 Vol.47, No. 7, PM#0382659799 -Arok Wolvengrey, *ᐊᐎᔹᑖᒋᐏᓂᓴ / wawiyatācimowinisa / Funny little stories*. University of Regina Press, 2007. - -## Acknolwedgements -The author owes much gratitude to ᓂᓚᐅᓛᖅ ᐊᒡᓘᒃᑲᖅ (Miriam Nilaulaaq Aglukkaq), ᑕᒪᓕᒃ (Janet Tamalik McGrath), ᐊᕐᓇᐅᔪᖅ ᐊᓗᑭ (Arnaoyok Alookee), ᕿ’ᖓᖅᑐᖅ ᐃᑦᑐᓗᒃ (Qi’ngaqtuq Kevin Eetoolook), ᐊᑏᒪ 𑪴ᓪᓚᕆ (Attima Hadlari), ᗮᘧᐣᙒᔆ ᗮᘦᐣᙆ (Francois (Guy) Prince), ᑓᐣᘆᔆ ᗷᒼᗫᐩᘧᐣᐪ (Dennis Cumberland), and Bill Jancewicz, who kindly shared their knowledge and discussed the concepts, local preferences and requirments, and best practices for Syllabics typography presented in this module with the author. +Arok Wolvengrey, *ᐊᐎᔹᑖᒋᐏᓂᓴ / wawiyatācimowinisa / Funny little stories*. 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a/cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/content.md b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/content.md similarity index 83% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/content.md rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/content.md index 53c2e36fde..8eaea926d9 100644 --- a/cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/content.md +++ b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/content.md @@ -15,7 +15,7 @@ The Dakelh Syllabics prefer all syllabic characters to be of a uniform height (f
The above example on line one shows incorrect Carrier Syllabics forms, as rendered in Google’s Noto Sans Canadian Aboriginal Syllabics. The second line shows the correct glyph shapes for these characters, rendered in November Syllabics.
-In addition to the preferences noted above, Dakelh users have a preference for the contemporary design of certain finals characters, particularly ᑋ  ᔆ  ᘁ  ᙆ . Historically, these characters were rendered as serifed, Latin-script form characters, which intentionally appeared distinct from other Syllabics finals characters. Francois Prince and Dennis Cumberland confirmed with the author that the contemporary community prefers monolinear shapes for these characters, which they feel better harmonize with the total Syllabics orthography, and which remain legible in text settings. **1** +In addition to the preferences noted above, Dakelh users have a preference for the contemporary design of certain finals characters, particularly ᑋ  ᔆ  ᘁ  ᙆ . Historically, these characters were rendered as serifed, Latin-script form characters, which intentionally appeared distinct from other Syllabics finals characters. Francois Prince and Dennis Cumberland confirmed with the author that the contemporary community prefers monolinear shapes for these characters, which they feel better harmonize with the total Syllabics orthography, and which remain legible in text settings.1 ## Vertical positioning of finals @@ -36,7 +36,7 @@ Dakelh Syllabics uses a raised dot (graphically similar to the dot diacritic mar ## Representation of foreign consonants -The sound “r” is not found in the Dakelh language, and is only featured in foreign loan words—primarily from French and English. This sound is rendered in the Dakelh Syllabics system by two separate marks. Morice initially indicated “r” with a cross mark ᕀ (U+1540), which was rendered proportionally as a final consonant character, and positioned similarly at the midline. In the contemporary Syllabics, two marks are used based on the context in which they occur. Latin lowercase “r” (U+0072) has been integrated into the modern system to mark “r” when the consonant is followed by a vowel. The cross mark ᕀ is used to mark all other instances of “r” in conjunction with other syllables (2). Although this contemporary method is common, some users continue the practice of using cross mark ᕀ exclusively to mark all instances of “r”, regardless of the context in which it occurs. **2** +The sound “r” is not found in the Dakelh language, and is only featured in foreign loan words—primarily from French and English. This sound is rendered in the Dakelh Syllabics system by two separate marks. Morice initially indicated “r” with a cross mark ᕀ (U+1540), which was rendered proportionally as a final consonant character, and positioned similarly at the midline. In the contemporary Syllabics, two marks are used based on the context in which they occur. Latin lowercase “r” (U+0072) has been integrated into the modern system to mark “r” when the consonant is followed by a vowel. The cross mark ᕀ is used to mark all other instances of “r” in conjunction with other syllables (2). Although this contemporary method is common, some users continue the practice of using cross mark ᕀ exclusively to mark all instances of “r”, regardless of the context in which it occurs.2
@@ -58,23 +58,15 @@ The sound “f”—as “r”—is also not encountered in the Dakelh language, The typography of the Syllabics may lack a formal body of literature that users can consult; however, professional typographic implementations can be achieved by observing the practices of local communities in both historical and contemporary documents. By adding to the understanding of the inherent conventions that govern the Syllabics across all of the orthographies that use the script, it is possible to deliver solutions that accommodate the best possible typographic experiences for all readers of this writing system, in their respective languages. -## Endnotes: +## Endnotes -**1** In an email conversation on 21 April, 2021, Cumberland shared further that “‘… Morice used a couple of different printing presses as he upgraded [his equipment] … it is possible he made adjustments [to the orthography as he worked] … and he might of also made errors in some type sets [that he chose to work with] …”’. +1. In an email conversation on 21 April, 2021, Cumberland shared further that “… Morice used a couple of different printing presses as he upgraded [his equipment] … it is possible he made adjustments [to the orthography as he worked] … and he might of also made errors in some type sets [that he chose to work with] …”. Dennis Cumberland and Francois Prince; in email correspondence with the author discussing issues relating the Unicode proposal prepared to revise the Carrier representative glyphs in the Unified Canadian Aboriginal Syllabics code charts, Cumberland and Prince confirmed that all members of the Dakelh (Carrier) Nation preferred a unified construction for the finals characters in contemporary typefaces, as opposed to versions of some finals characters featuring a serif construction. -> From ‘Question about Syllabics rotation in Morice document & single ‘s’ and ‘z’ sound character shapes’, 21 April 2021, 4:13 am EST and 23 April 2021, 11:43 am EST -**2** Dennis Cumberland; in a telephone interview with the author, Cumberland described many aspects pertaining to the history of the Dakelh (Carrier) Syllabics, including details on the equipment that Father Adrien-Gabriel Morice had available to print texts in the Syllabics. -> From ‘Discussing the history of the Dakelh Syllabics.’ 10 March 2021 +2. Dennis Cumberland; in a telephone interview with the author, Cumberland described many aspects pertaining to the history of the Dakelh (Carrier) Syllabics, including details on the equipment that Father Adrien-Gabriel Morice had available to print texts in the Syllabics. -## Image Sources: - -Base of map vector artwork designed by Freepik, accessed 7 May 2020, https://www.freepik.com/free-photos-vectors/travel - -## Works Sourced: - -The following sources were consulted in the analysis and preparation of illustration materials in this article: +### Works sourced [International Organization for Standardization], *Information technology—Universal Multiple-Octet Coded Character Set (UCS): Part 1: Architecture and Basic Multilingual Plane: Amendment 11: Unified Canadian Aboriginal Syllabics*. From ISO/IEC 10646–1:1993, FDAM 11, L2/98–128, 1998 @@ -87,7 +79,3 @@ Adrien-Gabriel Morice, *Mission Papers (ᑐᔆᘼᔆ ᘇᗘᑊᘄᐟ), Second Ed Louise Perrault, *Prières, cantiques et catechisme en langue Montagnaise ou Chipeweyan*. Montréal, 1857. Jean Baptiste Thibault, *ᐊᔭᒥᐁ ᓀᐃᔭᐁᐧᒪᓯᓇᐃᑲᐣ ᐊᔭᒥᐊᐃᐧᓇ ᓇᑲᒧᓇ ᒥᓇ ᑭᐢᑭᓄᐊᒪᑐᐃᐧᓇ / Prières, cantiques, catéchisme, etc., en langue crise*, Imprimerie de Louis Perrault, Montréal, 1866 - -## Acknolwedgements - -The author owes much gratitude to ᓂᓚᐅᓛᖅ ᐊᒡᓘᒃᑲᖅ (Miriam Nilaulaaq Aglukkaq), ᑕᒪᓕᒃ (Janet Tamalik McGrath), ᐊᕐᓇᐅᔪᖅ ᐊᓗᑭ (Arnaoyok Alookee), ᕿ’ᖓᖅᑐᖅ ᐃᑦᑐᓗᒃ (Qi’ngaqtuq Kevin Eetoolook), ᐊᑏᒪ 𑪴ᓪᓚᕆ (Attima Hadlari), ᗮᘧᐣᙒᔆ ᗮᘦᐣᙆ (Francois (Guy) Prince), ᑓᐣᘆᔆ ᗷᒼᗫᐩᘧᐣᐪ (Dennis Cumberland), and Bill Jancewicz, who kindly shared their knowledge and discussed the concepts, local preferences and requirments, and best practices for Syllabics typography presented in this module with the author. diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/images/article_05_figure_01.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/images/article_05_figure_01.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/images/article_05_figure_01.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/images/article_05_figure_01.svg diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/images/article_05_figure_02.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/images/article_05_figure_02.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/images/article_05_figure_02.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/images/article_05_figure_02.svg diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/images/article_05_figure_03.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/images/article_05_figure_03.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/images/article_05_figure_03.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/images/article_05_figure_03.svg diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/images/article_05_figure_04.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/images/article_05_figure_04.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/images/article_05_figure_04.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/images/article_05_figure_04.svg diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/images/thumbnail.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/images/thumbnail.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/images/thumbnail.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/images/thumbnail.svg diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/lesson.textproto b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/lesson.textproto similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dakelh_carrier_syllabics/lesson.textproto rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dakelh_carrier_syllabics/lesson.textproto diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/content.md b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/content.md similarity index 79% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/content.md rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/content.md index 86d717916a..af13df5ca6 100644 --- a/cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/content.md +++ b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/content.md @@ -15,7 +15,7 @@ The Dene Syllabics use the square form style, with all communities preferring th The vertical positioning of finals is largely stylistic in many Syllabics orthographies; however, in the northern Dene Syllabics orthographies (North and South Slavey, and Chipewyan), this positioning is required for the correct pronunciation of the language. This requirement—although important to these orthographies and languages—creates issues in representation in the current UCAS repertoire in the Unicode Standard. This is because the finals characters required for northern Dene Syllabics are used by other Syllabics orthographies within UCAS, which require these same forms to be rendered at the topline position. -The UCAS code charts use the topline position for all finals characters, and as a result, all commonly available typefaces (especially those at the system level, which are the most accessible to these communities) have finals marks rendered at the topline position. This results in many northern Dene Syllabics communities not being able to render their finals at the vertical positions they require in the typefaces to which they have access. **1** +The UCAS code charts use the topline position for all finals characters, and as a result, all commonly available typefaces (especially those at the system level, which are the most accessible to these communities) have finals marks rendered at the topline position. This results in many northern Dene Syllabics communities not being able to render their finals at the vertical positions they require in the typefaces to which they have access.1
@@ -32,17 +32,11 @@ The typography of the Syllabics may lack a formal body of literature that users ## Endnotes: -**3** Chris Harvey notes in his article ‘Syllabic glyph variation’, ‘While final placement in most syllabics languages may be stylistically conventional, it would in no circumstances impede legibility. In northern Dene languages on the other hand, the location of the final indicates pronunciation.’ -> Chris Harvey, ‘Syllabic glyph variation’. From *Languagegeek*, 2005, -accessed 8 June 2021, http://www.languagegeek.com/typography/syllabics/syllabic_variation.pdf +1. Chris Harvey notes in his article _[Syllabic glyph variation](http://www.languagegeek.com/typography/syllabics/syllabic_variation.pdf ),_ “While final placement in most syllabics languages may be stylistically conventional, it would in no circumstances impede legibility. In northern Dene languages on the other hand, the location of the final indicates pronunciation.” -## Image Sources: +## Endnotes -Base of map vector artwork designed by Freepik, accessed 7 May 2020, https://www.freepik.com/free-photos-vectors/travel - -## Works Sourced: - -The following sources were consulted in the analysis and preparation of illustration materials in this article: +## Works sourced William Carpenter Bompass, *Prayers, lessons, and hymns in the Tenni or Slavi language of the Indians of Mackenzie River in the North-West Territory of Canada*. London, Society for Promoting Christian Knowledge, 1900 @@ -57,7 +51,3 @@ Louise Perrault, *Prières, cantiques et catéchisme en langue Montagnaise ou Ch Louise Perrault, *Prières, cantiques et catechisme en langue Montagnaise ou Chipeweyan*. Montréal, 1857. Jean Baptiste Thibault, *ᐊᔭᒥᐁ ᓀᐃᔭᐁᐧᒪᓯᓇᐃᑲᐣ ᐊᔭᒥᐊᐃᐧᓇ ᓇᑲᒧᓇ ᒥᓇ ᑭᐢᑭᓄᐊᒪᑐᐃᐧᓇ / Prières, cantiques, catéchisme, etc., en langue crise*, Imprimerie de Louis Perrault, Montréal, 1866 - -## Acknolwedgements - -The author owes much gratitude to ᓂᓚᐅᓛᖅ ᐊᒡᓘᒃᑲᖅ (Miriam Nilaulaaq Aglukkaq), ᑕᒪᓕᒃ (Janet Tamalik McGrath), ᐊᕐᓇᐅᔪᖅ ᐊᓗᑭ (Arnaoyok Alookee), ᕿ’ᖓᖅᑐᖅ ᐃᑦᑐᓗᒃ (Qi’ngaqtuq Kevin Eetoolook), ᐊᑏᒪ 𑪴ᓪᓚᕆ (Attima Hadlari), ᗮᘧᐣᙒᔆ ᗮᘦᐣᙆ (Francois (Guy) Prince), ᑓᐣᘆᔆ ᗷᒼᗫᐩᘧᐣᐪ (Dennis Cumberland), and Bill Jancewicz, who kindly shared their knowledge and discussed the concepts, local preferences and requirments, and best practices for Syllabics typography presented in this module with the author. diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/images/article_04_figure_01.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/images/article_04_figure_01.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/images/article_04_figure_01.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/images/article_04_figure_01.svg diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/images/article_04_figure_02.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/images/article_04_figure_02.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/images/article_04_figure_02.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/images/article_04_figure_02.svg diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/images/thumbnail.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/images/thumbnail.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/images/thumbnail.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/images/thumbnail.svg diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/lesson.textproto b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/lesson.textproto similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/dene_syllabics/lesson.textproto rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/dene_syllabics/lesson.textproto diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/content.md b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/content.md similarity index 78% rename from cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/content.md rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/content.md index 9c467d934e..973bec7ccb 100644 --- a/cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/content.md +++ b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/content.md @@ -10,13 +10,13 @@ One of the most notable localisation preferences in all of Syllabics typography The Nunavut preferred form (ᖕ) is the default representative form for ng in the Unified Canadian Aboriginal Syllabics code chart, and it is also the most common variant of the form. Nunavik communities deal with this preference by implementing localized typefaces that have their preferred ng shape (ᖕ) in the code point position for this character (U+1595). -While readers in Nunavik encounter the Nunavut ng form more frequently, due to it being the default in many system-level Syllabics typefaces, Nunavut readers occasionally also encounter this form in materials from Nunavik, and refer to it as ᐃᒡᒑᙳᐊᒃ  *iggaannguak* (“little eye glasses”). **1** +While readers in Nunavik encounter the Nunavut ng form more frequently, due to it being the default in many system-level Syllabics typefaces, Nunavut readers occasionally also encounter this form in materials from Nunavik, and refer to it as ᐃᒡᒑᙳᐊᒃ  *iggaannguak* (“little eye glasses”).1 Both forms are mutually intelligible between either community, with the only difference being that texts set with the preferred “ng” form for Nunavik (ᖕ) have a graphic distinction that alerts the reader to the fact that it is notably a text from the Nunavik region.
-![A map of the Nunavut and Nunavik regions and their respective communities who use Syllabics](images/article_03_figure_01.svg) +![A map of the Nunavut and Nunavik regions and their respective communities who use Syllabics](images/article_03_figure_01_png.png)
Inuktut communities across Nunavik & Nunavut (blue), Cree communites** (red), Naskapi communites** (red). The above map shows Nunavik and Nunavut communities with their preferred form of ng depicted above the community place name (ᐊᖓᒃᑯᓄᑦ,  ᐊᖓᒃᑯᓄᑦ). The Nunavik region—while complying with the ICI orthographic standards—prefers an "ng" form that is different than that of the Nunavut region.
@@ -33,18 +33,13 @@ This preference is satisfied in Typotheque’s November and Lava Syllabics typef ## In summary The typography of the Syllabics may lack a formal body of literature that users can consult; however, professional typographic implementations can be achieved by observing the practices of local communities in both historical and contemporary documents. By adding to the understanding of the inherent conventions that govern the Syllabics across all of the orthographies that use the script, it is possible to deliver solutions that accommodate the best possible typographic experiences for all readers of this writing system, in their respective languages. -## Endnotes: +## Endnotes -**1** Janet Tamalik McGrath—an Inuktut language consultant familiar with the range of Inuktut dialects of Canada– notes that “‘ICI Nunavut uses a combo of ᓐ + ᒡ (ᖕ) and Nunavik uses what we call iggaannguak (little eye glasses, i.e. two little circles) … For me, I just use the Nunavut ICI keyboard and when reading Nunavik material, I understand it fine and don’t think about style.”’ -> Janet Tamalik McGrath; in email correspondence with the author, Tamalik answered a question regarding her stance on the Nunavik preferred form of ng, and how it is received by herself and members of the Nunavut linguistic community. From ‘“Inuktitut—A Multi-dialectal Outline Dictionary” by Alex Spalding’. 29 March, 2021, 2.26pm EST. +1. Janet Tamalik McGrath—an Inuktut language consultant familiar with the range of Inuktut dialects of Canada– notes (in email correspondence with the author) that “ICI Nunavut uses a combo of ᓐ + ᒡ (ᖕ) and Nunavik uses what we call iggaannguak (little eye glasses, i.e. two little circles) … For me, I just use the Nunavut ICI keyboard and when reading Nunavik material, I understand it fine and don’t think about style.” -## Image Sources: +### Works sourced -Base of map vector artwork designed by Freepik, accessed 7 May 2020, https://www.freepik.com/free-photos-vectors/travel - -## Works Sourced: - -The following sources were consulted in the analysis and preparation of illustration materials in this article: +Base of map vector artwork designed by [Freepik](https://www.freepik.com/free-photos-vectors/travel), accessed 7 May 2020. James Evans, *Swampy Cree Hymn book (ᓇᑲᒧᐏᓇ ᐅᒪᐢᑮᑯᐘ ᐅᑎᑘᐏᓂᐘᐤ)*. Norway House, 1841. Image from the James Evans Fonds, University of Victoria library, University of Toronto @@ -55,7 +50,3 @@ James Evans, *Swampy Cree Hymn book (ᓇᑲᒧᐏᓇ ᐅᒪᐢᑮᑯᐘ ᐅᑎ John Maclean, *James Evans: Inventor of the Syllabic system of the Cree language*, William Briggs, Toronto, 1890 Janet Tamalik McGrath, *Letter of support to the Unicode Technical Committee*, 3 September 2020. - -## Acknolwedgements - -The author owes much gratitude to ᓂᓚᐅᓛᖅ ᐊᒡᓘᒃᑲᖅ (Miriam Nilaulaaq Aglukkaq), ᑕᒪᓕᒃ (Janet Tamalik McGrath), ᐊᕐᓇᐅᔪᖅ ᐊᓗᑭ (Arnaoyok Alookee), ᕿ’ᖓᖅᑐᖅ ᐃᑦᑐᓗᒃ (Qi’ngaqtuq Kevin Eetoolook), ᐊᑏᒪ 𑪴ᓪᓚᕆ (Attima Hadlari), ᗮᘧᐣᙒᔆ ᗮᘦᐣᙆ (Francois (Guy) Prince), ᑓᐣᘆᔆ ᗷᒼᗫᐩᘧᐣᐪ (Dennis Cumberland), and Bill Jancewicz, who kindly shared their knowledge and discussed the concepts, local preferences and requirments, and best practices for Syllabics typography presented in this module with the author. diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/images/article_03_figure_01.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/images/article_03_figure_01.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/images/article_03_figure_01.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/images/article_03_figure_01.svg diff --git a/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/images/article_03_figure_01_png.png b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/images/article_03_figure_01_png.png new file mode 100644 index 0000000000..e7f7cc4135 Binary files /dev/null and b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/images/article_03_figure_01_png.png differ diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/images/article_03_figure_02.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/images/article_03_figure_02.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/images/article_03_figure_02.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/images/article_03_figure_02.svg diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/images/thumbnail.svg b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/images/thumbnail.svg similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/images/thumbnail.svg rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/images/thumbnail.svg diff --git a/cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/lesson.textproto b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/lesson.textproto similarity index 100% rename from cc-by-sa/knowledge/modules/syllabics/lessons/inuktut_syllabics/lesson.textproto rename to cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/lessons/inuktut_syllabics/lesson.textproto diff --git a/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/module.textproto b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/module.textproto new file mode 100644 index 0000000000..2ee3f9a8ed --- /dev/null +++ b/cc-by-sa/knowledge/modules/the_syllabics_writing_system_of_north_america/module.textproto @@ -0,0 +1,7 @@ +name: "The Syllabics writing system of North America" +lessons: "an_introduction_to_syllabics_typography" +lessons: "algonquian_syllabics" +lessons: "inuktut_syllabics" +lessons: "dene_syllabics" +lessons: "dakelh_carrier_syllabics" +excerpt: "The Canadian Syllabics (often referred to simply as the “Syllabics”) is a writing system used by many different Indigenous language communities throughout Canada and parts of the United States. The Syllabics are unique in how they represent written language, and many communities have local requirements and preferences in how their Syllabics should appear and function as text. This module outlines the general principles used by all, as well as specific recommendations that address the requirements and preferences of specific language communities."