From: Nathan Williams Date: Mon, 20 Mar 2023 19:20:01 +0000 (-0700) Subject: Revert "GFK 2023 Q1 content drop (#5822)" (#6051) X-Git-Url: http://git.ipfire.org/cgi-bin/gitweb.cgi?a=commitdiff_plain;h=cc06c51e5d9c92f415d58c66ef583ccb0912ba16;p=thirdparty%2Fgoogle%2Ffonts.git Revert "GFK 2023 Q1 content drop (#5822)" (#6051) This reverts commit 910c941b559fec24f387d34bafd74c9259c083e4. --- diff --git a/cc-by-sa/knowledge/contributors.textproto b/cc-by-sa/knowledge/contributors.textproto index d106b6ae77..e26ab3f00c 100644 --- a/cc-by-sa/knowledge/contributors.textproto +++ b/cc-by-sa/knowledge/contributors.textproto @@ -1,7 +1,3 @@ -contributors { - name: "Adam Twardoch" - personal_site: "https://www.twardoch.com" -} contributors { name: "Andrew Johnson" personal_site: "https://www.aetherpoint.com/" @@ -106,18 +102,10 @@ contributors { name: "John Boardley" personal_site: "https://ilovetypography.com/about" } -contributors { - name: "Kevin King" - personal_site: "" -} contributors { name: "Laurence Penney" personal_site: "https://lorp.org" } -contributors { - name: "Lily Darling" - personal_site: "" -} contributors { name: "Lisa Huang" personal_site: "" @@ -162,10 +150,6 @@ contributors { name: "Oliver Schöndorfer" personal_site: "https://pimpmytype.com" } -contributors { - name: "Peter Biľak" - personal_site: "https://peterbilak.com" -} contributors { name: "Piper Haywood" personal_site: "https://piperhaywood.com" diff --git a/cc-by-sa/knowledge/glossary/terms/abugidas_alphasyllabary/content.md b/cc-by-sa/knowledge/glossary/terms/abugidas_alphasyllabary/content.md deleted file mode 100644 index d67710d540..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/abugidas_alphasyllabary/content.md +++ /dev/null @@ -1,12 +0,0 @@ -An abugida (often also referred to as an alphasyllabary) is a writing system that combines consonants and vowels into a singular unit, with the consonant being the primary element, and the vowel secondary. - -
- -![Glyphs from a Syllabic script with Latin-specific pronunciation guides.](images/thumbnail.svg) - -
-
A diagram depicting syllabics characters, which represent syllables within the Canadian Aboriginal Syllabics writing system scheme. A consonant is represented by a base form, with the vowel in a syllable being inflected depending on the orientation of the base symbol. In the above example, the first line shows the pure vowel series, with subsequent syllable series’ on lines two and three, made up of syllabic base characters across their four rotations.
- -This is unlike an alphabet, where consonants and vowels are treated equally, and unlike a syllabary, where it’s impossible to split the symbols into individual elements. Examples of abugidas include the Brahmic scripts of India and the Canadian Aboriginal syllabics. - -It’s technically possible to have an abugida that is not an alphasyllabary, and an alphasyllabary that is not an abugida. To explore the subtle and often debated nuances, please see [the “Abugida” article on Wikipedia](https://en.wikipedia.org/wiki/Abugida). \ No newline at end of file diff --git a/cc-by-sa/knowledge/glossary/terms/abugidas_alphasyllabary/images/thumbnail.svg b/cc-by-sa/knowledge/glossary/terms/abugidas_alphasyllabary/images/thumbnail.svg deleted file mode 100644 index 837e31a23b..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/abugidas_alphasyllabary/images/thumbnail.svg +++ /dev/null @@ -1,10 +0,0 @@ - - - - - - - - - - diff --git a/cc-by-sa/knowledge/glossary/terms/abugidas_alphasyllabary/term.textproto b/cc-by-sa/knowledge/glossary/terms/abugidas_alphasyllabary/term.textproto deleted file mode 100644 index b749e63a55..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/abugidas_alphasyllabary/term.textproto +++ /dev/null @@ -1,3 +0,0 @@ -name: "Abugidas & alphasyllabary" -excerpt: "A writing system that combines consonants and vowels into a singular unit, with the consonant being the primary element, and the vowel secondary." -related_lessons: "an_introduction_to_syllabics_typography" diff --git a/cc-by-sa/knowledge/glossary/terms/font_picker/content.md b/cc-by-sa/knowledge/glossary/terms/font_picker/content.md deleted file mode 100644 index c52312a57c..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/font_picker/content.md +++ /dev/null @@ -1,9 +0,0 @@ -The font picker is the part of a user interface that specifically allows the user to choose a font. Most commonly, this incorporates a scrollable dropdown list of available fonts, often with a sub-menu or secondary dropdown for picking particular instances, such as weights and styles. - -
- -![An abstract representation of the Font menu user interfaces in popular apps.](images/thumbnail.svg) - -
On the left: A Font menu similar to the one in many design applications, with a dropdown for the typeface on the top, followed by a dropdown for weights and styles beneath. On the right: A pop-out sub-menu for weights and styles, as seen in Google Workspace apps.
- -Depending on the software, the font picker may show the list of fonts with their names set in either the standard typeface for that UI, each in their own typeface, or a combination of a regular list augmented with a preview. Some apps, such as those in Adobe’s Creative Cloud and Microsoft Word, also have the ability to automatically update the selected text on the canvas, as the user scrolls through the list in the font picker. diff --git a/cc-by-sa/knowledge/glossary/terms/font_picker/images/thumbnail.svg b/cc-by-sa/knowledge/glossary/terms/font_picker/images/thumbnail.svg deleted file mode 100644 index 352b293efb..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/font_picker/images/thumbnail.svg +++ /dev/null @@ -1,38 +0,0 @@ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/glossary/terms/font_picker/term.textproto b/cc-by-sa/knowledge/glossary/terms/font_picker/term.textproto deleted file mode 100644 index 289dcf19c9..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/font_picker/term.textproto +++ /dev/null @@ -1,3 +0,0 @@ -name: "Font picker" -excerpt: "The part of a user interface that specifically allows the user to choose a font." -related_lessons: "installing_and_managing_fonts" diff --git a/cc-by-sa/knowledge/glossary/terms/interpolation/content.md b/cc-by-sa/knowledge/glossary/terms/interpolation/content.md deleted file mode 100644 index 2e6a457f7b..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/interpolation/content.md +++ /dev/null @@ -1,12 +0,0 @@ -In type design, interpolation is the use of software to populate intermediate instances of a font between two masters. For instance, a light master and a bold master could be interpolated to generate a regular weight. - -When a typeface has more than one axis of variation (for example, both weight and width), software can also generate a new instance in areas not covered by a specific master. This is casually referred to as interpolation, but strictly speaking it is different, as it does not occur between masters, and is technically called vector addition. For example, if one has a light master, a bold master, and a light extended master, a bold extended style could be generated by vector addition. - -
- -![Four lowercase “a” characters, each shown in a different weight or width. One of them is highlighted to show that it was generate by a combination of the widest width and heaviest weight.](images/thumbnail.svg) - -
-
A light master (top left), a bold master (top right), and a light extended master (bottom left) can be used to create a bold extended style (bottom right) thanks to vector addition.
- -Interpolation and vector addition are tools type designers use to create a larger set of static fonts from fewer initial masters, and are also the mechanisms behind [variable fonts](https://fonts.google.com/knowledge/introducing_type/introducing_variable_fonts), working on-the-fly as the end user manipulates variable axes. diff --git a/cc-by-sa/knowledge/glossary/terms/interpolation/images/thumbnail.svg b/cc-by-sa/knowledge/glossary/terms/interpolation/images/thumbnail.svg deleted file mode 100644 index f92b0257fa..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/interpolation/images/thumbnail.svg +++ /dev/null @@ -1,17 +0,0 @@ - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/glossary/terms/interpolation/term.textproto b/cc-by-sa/knowledge/glossary/terms/interpolation/term.textproto deleted file mode 100644 index 96af1a5d72..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/interpolation/term.textproto +++ /dev/null @@ -1,5 +0,0 @@ -name: "Interpolation" -excerpt: "The use of software to populate intermediate instances of a font between two masters." -related_lessons: "how_typefaces_are_designed_and_fonts_are_made" -related_lessons: "introducing_weights_styles" -related_lessons: "introducing_variable_fonts" diff --git a/cc-by-sa/knowledge/glossary/terms/lockup/content.md b/cc-by-sa/knowledge/glossary/terms/lockup/content.md deleted file mode 100644 index 3aba8ac150..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/lockup/content.md +++ /dev/null @@ -1,10 +0,0 @@ -The fixed arrangement of two or more individual elements (e.g. a logomark together with a logotype) is often referred to as a lockup. - -
- -![A fictional logo for a brand called Bespoké Poké, with the customized parts of the logo highlighted, along with guidelines that show how elements are aligned to each other.](images/thumbnail.svg) - -
-
A logo for a fictional brand. Note the customized diacritics, highlighted here in blue—made more prominent to fit with the overall weight of the type—and the guidelines, highlighted here in red, to show alignments and spacing specific to this lockup.
- -A lockup can even consist of *just* type. For instance, consider a logotype made up of two lines of text. The specific size of the type, the spacing between each line, and the overall position of the elements constitutes a lockup. diff --git a/cc-by-sa/knowledge/glossary/terms/lockup/images/thumbnail.svg b/cc-by-sa/knowledge/glossary/terms/lockup/images/thumbnail.svg deleted file mode 100644 index 48eb0f1e27..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/lockup/images/thumbnail.svg +++ /dev/null @@ -1,37 +0,0 @@ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/glossary/terms/lockup/term.textproto b/cc-by-sa/knowledge/glossary/terms/lockup/term.textproto deleted file mode 100644 index 54fc11cd87..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/lockup/term.textproto +++ /dev/null @@ -1,3 +0,0 @@ -name: "Lockup" -excerpt: "The fixed arrangement of two or more individual elements (e.g. a logomark together with a logotype)." -related_lessons: "from_type_to_logotype" diff --git a/cc-by-sa/knowledge/glossary/terms/logo_logomark_logotype/content.md b/cc-by-sa/knowledge/glossary/terms/logo_logomark_logotype/content.md deleted file mode 100644 index e483edaee1..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/logo_logomark_logotype/content.md +++ /dev/null @@ -1,14 +0,0 @@ -A logo is a unique combination of elements—usually graphics and type—that creates a reproducible and recognizable design. Depending on the brand and the context, these elements can also exist on their own. - -
- -![A full logo on the left, followed by just its logomark in the center, then just a logotype (arranged differently to the main logo) on the right.](images/thumbnail.svg) - -
-
1 shows the full logo: a unique lockup of the logomark and logotype for a fictional brand, created using a customized version of Anybody. 2 shows the isolated logomark, suitable for use on social media avatars. 3 shows a logotype with a different arrangement to the one in the main logo, intended to be used when the logomark is absent. Note that the customized diacritics remain—this is not merely the brand name typed out in that font.
- -A logomark is the graphic element, symbol, or icon (for example, Nike’s Swoosh, Starbucks’ siren, or Apple’s apple) that represents the company or brand. - -A logotype, which can also be known as a wordmark (although usually only if it’s made up of just one word), is a specific lockup of the brand’s name. It can be something as simple as a customized setting of a typeface (for instance, with custom kerning), an altered version that actually changes the letterforms’ outlines, or a completely bespoke piece of lettering. - -Combining a logomark and logotype together forms a logo, although it’s fair to say that the term “logo” is often used to refer to these individual elements, too. diff --git a/cc-by-sa/knowledge/glossary/terms/logo_logomark_logotype/images/thumbnail.svg b/cc-by-sa/knowledge/glossary/terms/logo_logomark_logotype/images/thumbnail.svg deleted file mode 100644 index bdcfb59e18..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/logo_logomark_logotype/images/thumbnail.svg +++ /dev/null @@ -1,67 +0,0 @@ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/glossary/terms/logo_logomark_logotype/term.textproto b/cc-by-sa/knowledge/glossary/terms/logo_logomark_logotype/term.textproto deleted file mode 100644 index 776b4a686c..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/logo_logomark_logotype/term.textproto +++ /dev/null @@ -1,3 +0,0 @@ -name: "Logo, logomark, logotype" -excerpt: "A logo is a unique combination of elements—usually graphics and type—that creates a reproducible and recognizable design." -related_lessons: "from_type_to_logotype" diff --git a/cc-by-sa/knowledge/glossary/terms/point_size/content.md b/cc-by-sa/knowledge/glossary/terms/point_size/content.md index 47f150d96d..b6fbdda643 100644 --- a/cc-by-sa/knowledge/glossary/terms/point_size/content.md +++ b/cc-by-sa/knowledge/glossary/terms/point_size/content.md @@ -1,4 +1,5 @@ -“Point” is one of many [units](/glossary/unit) of measurement for [type](/glossary/type) and the default unit used in contemporary print design. Like the pixel, the point is an absolute unit, as opposed to a relative unit such as an [em](/glossary/em), [en](/glossary/en), or rem. + +A point is a [unit](/glossary/unit) of measurement for [type](/glossary/type) and has been employed for hundreds of years. On the web, we tend to think of pixels, but in print design, points remain the standard unit of measuring [font](/glossary/font) size.
@@ -6,6 +7,4 @@
-The actual physical size of a point has varied throughout history, but since the mid-1980s, one point is equivalent to 1/72nd of an inch in print. Browsers have no concept of physical size and, although the size of an actual pixel varies, CSS defines a point as 1⅓ pixels. - -But what is the point size of a [font](/glossary/font)? Font rendering on screen or in print starts with scaling the font’s em to the desired point size. But there’s no specific part of a font that equals the point size, nor any combination of parts that necessarily add up to the point size. For Latin-based languages, the average [capital height](/glossary/cap_height) is about 70% of the point size. In an average font, the [x-height](/glossary/x_height) is roughly half the point size. The font bounding box may approximately equal the point size, but there is no specific, required relationship. Thus, how large a given font is at a given point size varies, and is font-specific. If you set two different fonts at 16 point, very likely one will be larger than the other. +The original point measured 72.289 parts per inch, but has been rounded to simply 72 since the 1990s, in line with the 72 dpi (dots per inch) of the displays of the first Macintosh computers. diff --git a/cc-by-sa/knowledge/glossary/terms/script_writing_system/term.textproto b/cc-by-sa/knowledge/glossary/terms/script_writing_system/term.textproto index cc0cbb4647..523ef78878 100644 --- a/cc-by-sa/knowledge/glossary/terms/script_writing_system/term.textproto +++ b/cc-by-sa/knowledge/glossary/terms/script_writing_system/term.textproto @@ -3,5 +3,4 @@ excerpt: "A collective way of describing a writing system used by multiple langu related_lessons: "language_support_in_fonts" related_lessons: "choosing_reliable_typefaces" related_lessons: "an_overview_of_latin_type_anatomy" -related_lessons: "cjk_typesetting_rules" related_content_urls: "https://www.youtube.com/embed/ro6XnC_U-I8" diff --git a/cc-by-sa/knowledge/glossary/terms/spacing/content.md b/cc-by-sa/knowledge/glossary/terms/spacing/content.md deleted file mode 100644 index bbc5c85937..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/spacing/content.md +++ /dev/null @@ -1,10 +0,0 @@ -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. - -
- -![The word “axe” with the baseline and x-height shown, and the “x” character highlighted to demonstrate the horizontal spaces inside and outside the glyph.](images/thumbnail.svg) - -
-
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 diff --git a/cc-by-sa/knowledge/glossary/terms/spacing/images/thumbnail.svg b/cc-by-sa/knowledge/glossary/terms/spacing/images/thumbnail.svg deleted file mode 100644 index ca9abbe86d..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/spacing/images/thumbnail.svg +++ /dev/null @@ -1,18 +0,0 @@ - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/glossary/terms/spacing/term.textproto b/cc-by-sa/knowledge/glossary/terms/spacing/term.textproto deleted file mode 100644 index 549406c6ff..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/spacing/term.textproto +++ /dev/null @@ -1,4 +0,0 @@ -name: "Spacing" -excerpt: "In type design, the act of setting the horizontal space around each glyph." -related_lessons: "how_typefaces_are_designed_and_fonts_are_made" -related_lessons: "track_carefully_or_not_at_all" diff --git a/cc-by-sa/knowledge/glossary/terms/viewport/content.md b/cc-by-sa/knowledge/glossary/terms/viewport/content.md deleted file mode 100644 index 259b962a93..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/viewport/content.md +++ /dev/null @@ -1,12 +0,0 @@ -In responsive design, the viewport usually refers to the size of the browser window, although it can be any area that a website or app uses as its display surface, not including any “chrome” (for instance, tabs, address bar, status bars, etc.). - -
- -![An abstract representation of a desktop computer, with a browser on screen that has its viewport area highlighted. To its right, a mobile phone and a tablet, with their viewport areas highlighted, too.](images/thumbnail.svg) - -
-
The viewport size can be the same as the screen size, but only if viewed in full-screen, and only if there’s no other chrome. In most scenarios, the viewport is slightly smaller than the total available screen space.
- -The horizontal and vertical dimensions of a viewport are more important than the overall screen size of the device, since that would also include any chrome and also assume that the website or app is always interacted with in fullscreen, which is not usually the case. - -In CSS, two relatively new units were introduced so that elements can be resized in relation to the viewport’s width and height respectively: vw and vh. For more information, please see [the “Viewport-relative units” section in the “Sizing Units” chapter of *Learn CSS!*](https://web.dev/learn/css/sizing/#viewport-relative-units) These units of measurement are in addition to the control offered by media queries, which allow for specific CSS rules to be applied when viewport size meets certain conditions. For more information, please see [the “Media queries” chapter of *Learn Responsive Design!*](https://web.dev/learn/design/media-queries/) \ No newline at end of file diff --git a/cc-by-sa/knowledge/glossary/terms/viewport/images/thumbnail.svg b/cc-by-sa/knowledge/glossary/terms/viewport/images/thumbnail.svg deleted file mode 100644 index c5d7a6cffb..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/viewport/images/thumbnail.svg +++ /dev/null @@ -1,18 +0,0 @@ - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/glossary/terms/viewport/term.textproto b/cc-by-sa/knowledge/glossary/terms/viewport/term.textproto deleted file mode 100644 index 99cfab71e7..0000000000 --- a/cc-by-sa/knowledge/glossary/terms/viewport/term.textproto +++ /dev/null @@ -1,3 +0,0 @@ -name: "Viewport" -excerpt: "The size of the browser window, or any area that a website or app uses as its display surface, not including any “chrome”." -related_lessons: "the_foundations_of_web_typography" diff --git a/cc-by-sa/knowledge/modules/choosing_type/lessons/choosing_reliable_typefaces/content.md b/cc-by-sa/knowledge/modules/choosing_type/lessons/choosing_reliable_typefaces/content.md index 3916eea10c..a3b5d8689d 100644 --- a/cc-by-sa/knowledge/modules/choosing_type/lessons/choosing_reliable_typefaces/content.md +++ b/cc-by-sa/knowledge/modules/choosing_type/lessons/choosing_reliable_typefaces/content.md @@ -91,11 +91,3 @@ Multiple versions of characters (accessed via [OpenType](/glossary/open_type)) h We explore OpenType in more depth in our article [“OpenType features in practice.”](/lesson/open_type_features_in_practice) Thanks to the work of professional [type designers](/glossary/type_designer), who often invest years of work in creating truly robust typefaces, many of the fonts we have at our disposal offer us a great deal of versatility. Understanding all that can potentially be found in a typeface lets us properly assess how reliable (or unreliable) they can be for our projects. - -## A note on fonts named “Pro” - -You might notice that some fonts have the “Pro” suffix. This was a naming convention that was developed by Adobe around the year 2000 as a way of differentiating between older PostScript versions of their fonts (no suffix), and newer OpenType versions: Either “Std” for standard, which might have merged supplemental fonts, but with no additional characters or language support), or “Pro” versions which were reworked with bigger character sets. A similar system was adopted by Monotype at around the same time. - -Since then, however, the idea of what “Pro” actually means has evolved as it’s been adopted by other foundries and font distributors. In practice, any type designer can add “Pro” to the name of their font and use it as a marketing tactic, so it pays to be aware of what the name convention can and cannot mean. - -We also often use the words “professional” or “pro” to talk about how well-made a font is, and that level of quality has nothing to do with how the font is named. For more information, please read Mary Catherine Pflug’s article [“What’s in a name? The perception of Pro”](https://medium.com/@mcpflug/whats-in-a-name-the-perception-of-pro-7fffa6cddcb8) and [“Quality type: how to spot fonts worth your money”](https://www.type-together.com/font-quality) from TypeTogether. diff --git a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/content.md b/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/content.md deleted file mode 100644 index 3c29e08c51..0000000000 --- a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/content.md +++ /dev/null @@ -1,43 +0,0 @@ -Although it’s possible to practice good typography with whatever typeface we’re handed—even the most basic of defaults can be improved with some thoughtful tweaks to [line-height](/lesson/choosing_a_suitable_line_height), [measure](/lesson/understanding_measure_line_length), and [tracking](https://fonts.google.com/knowledge/using_type/track_carefully_or_not_at_all)—it’s nice to have options. A wider selection of typefaces can help us nail the look and feel we’re going for, or even just give us a larger palette to paint with. - -Google’s Workspace apps, such as Docs, Sheets, and Slides, come with a selection of typefaces to choose from, accessible via the Font menu. But did you know you can actually add _any_ font from the [Google Fonts library](https://fonts.google.com) to this menu, too? - -To do this, click on the menu showing the name of the font that’s currently selected. In the dropdown that appears, above the big list of currently available fonts, you’ll notice a “More fonts” button: - -
- -![An approximation of the Fonts menu in Google Docs, etc.](images/adding_fonts_1.svg) - -
- -Once you press “More fonts,” a modal dialog window will open where you can start to add to your collection. The dialog has a main list that is populated with all the fonts that are currently available—including any that you might’ve already added previously, indicated in blue and with a check mark. - -Added fonts also appear in the “My fonts” list on the right sidebar. From here you can easily remove unwanted fonts if your list starts to become too long. - -
- -![An approximation of the “More fonts” modal interface in Google Docs, etc., with Montserrat selected.](images/adding_fonts_2.svg) - -
- -There are a few ways to add a new font. If you know the name, you can search for it, and the list below will be updated with any that match what you’ve typed. Or simply make a selection from the “Scripts,” “Show,” or “Sort” options, and you’ll see that the list updates with a whole new load of fonts you can choose from. - -
- -![An approximation of the “More fonts” modal interface in Google Docs, etc., with the Serif classification filter selected.](images/adding_fonts_3.svg) - -
- -Note that the search box and those options work together, so if you’d like to search for a font called “Source” that, for instance, contains glyphs for the Greek script, you could do so. This is also a handy way to quickly check [language support](/lesson/a_checklist_for_choosing_type). - -
- -![An approximation of the “More fonts” modal interface in Google Docs, etc., with the Greek script filter selected, and “Source” in the search box, resulting in matches in the main window.](images/adding_fonts_4.svg) - -
- -Tip: If you’re not able to find what you want via this interface, just open up [Google Fonts](https://fonts.google.com) in a new tab, then if you find something you like, make a note of its name and jump back to Workspace and search for the name in the “More fonts” window. - -Note that any fonts you add here will persist within that Workspace app, so once you’ve added a font once, you won’t need to do it again next time you open that app. - -Not sure where to start when it comes to choosing a typeface for your document? Check out our article, [“A checklist for choosing type.”](/lesson/a_checklist_for_choosing_type) diff --git a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_1.svg b/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_1.svg deleted file mode 100644 index 7741dcef9a..0000000000 --- a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_1.svg +++ /dev/null @@ -1,13 +0,0 @@ - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_2.svg b/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_2.svg deleted file mode 100644 index d859b4522c..0000000000 --- a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_2.svg +++ /dev/null @@ -1,39 +0,0 @@ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_3.svg b/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_3.svg deleted file mode 100644 index 1849ea11b7..0000000000 --- a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_3.svg +++ /dev/null @@ -1,31 +0,0 @@ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_4.svg b/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_4.svg deleted file mode 100644 index 2f1a8eb141..0000000000 --- a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/adding_fonts_4.svg +++ /dev/null @@ -1,47 +0,0 @@ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 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 deleted file mode 100644 index 74d4504b30..0000000000 --- a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/images/thumbnail.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/lesson.textproto b/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/lesson.textproto deleted file mode 100644 index ab61839f95..0000000000 --- a/cc-by-sa/knowledge/modules/introducing_type/lessons/adding_fonts_to_google_docs/lesson.textproto +++ /dev/null @@ -1,9 +0,0 @@ -name: "Adding fonts to Google Docs and Slides" -authors: "Elliot Jay Stocks" -reviewers: "Thomas Phinney" -topics: "essentials" -related_terms: "typeface" -related_terms: "italic" -related_terms: "weight" -prev_lessons: "how_typefaces_are_designed_and_fonts_are_made" -excerpt: "Google’s Workspace apps, such as Docs, Sheets, and Slides, come with a selection of typefaces to choose from, accessible via the Font menu. But did you know you can actually add any font from the Google Fonts library to this menu, too?" diff --git a/cc-by-sa/knowledge/modules/introducing_type/module.textproto b/cc-by-sa/knowledge/modules/introducing_type/module.textproto index aefec99fac..c66c452569 100644 --- a/cc-by-sa/knowledge/modules/introducing_type/module.textproto +++ b/cc-by-sa/knowledge/modules/introducing_type/module.textproto @@ -10,5 +10,4 @@ lessons: "open_type_features_in_practice" lessons: "introducing_variable_fonts" lessons: "introducing_color_fonts" lessons: "how_typefaces_are_designed_and_fonts_are_made" -lessons: "adding_fonts_to_google_docs" excerpt: "We all use type every day, from word processors and social media graphic apps to professional desktop design software and hand-coded websites. Good typography is within everyone’s reach, and it starts with the fundamentals. This module acts as an accessible primer for anyone to build confidence and skills, and is also a solid foundation for experienced designers looking to deepen their understanding of the basics." diff --git a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/content.md b/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/content.md deleted file mode 100644 index 07a34e6dc6..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/content.md +++ /dev/null @@ -1,93 +0,0 @@ -The Algonquian Syllabics were—as the name suggests—used for the Algonquian languages Ojibway (ᐊᓂᔑᓇᐯᒧᐎᐣ) and Cree (ᓀᐦᐃᔭᐍᐏᐣ), and spread to the related dialects in each language from the typographic source in Northern Manitoba (Norway House / ᑭᓄᓭᐏ ᓰᐱᐩ), westward to the prairie communities, as well as eastward into Ontario and Québec, around the same time period. These communities formed variations in both the style of the finals characters that they employed and the style of syllabic characters. Although the Algonquian Syllabic tradition is largely one of the round form style, Western Cree and Ojibway communities—particularly in Alberta—showed periods of using the square form style, as these communities had greater contact with French Catholic missionaries, who were printing works in this style for the neighboring Dene communities. These missionaries were importing the type supply for printing work in the Dene languages, and this material would have been used for printing in Cree and Ojibway as well. - -An early and major printing center for the Algonquian Syllabics was Moose Factory, Ontario, where a printing press overseen by John Horden printed works in the local Moose Cree (ᐃᓕᓖᒧᐎᓐ) dialect and in the northern dialects of Ojibway. Horden made a significant change to the Algonquian Syllabics orthography by instituting the method of using finals characters in a series, which were superscript versions of the a vowel syllabic in a given series. This pattern was in stark contrast to the Western Algonquian pattern of using distinct finals characters, separate from the syllabic character forms in the series (see Finals section). This divergence in finals between eastern and western Algonquian Syllabics-using communities forms the main stylistic divide, and in particular led to a significant amount of variation in the Ojibway Syllabics of northern Ontario. - -![Difference between Western and Eastern Cree Syllabics finals character forms](images/article_02_figure_01.svg) -
- -
-
Above, showing the difference between the western and eastern Cree traditions in finals characters.
- -## Finals variation across Ojibway communities - -​​​​The northern dialects of Ojibway—the only Ojibway language communities to use Syllabics as their primary writing system—are noted as having a high degree of variability in the form of the finals characters that several respective communities prefer to use. The northern dialects of Ojibway that use Syllabics comprise Oji-Cree, Northwestern Ojibway and Berens River Ojibway. All of these communities utilize a Syllabics orthography, although the local preference for the form of the finals characters varies. - -
- -![A map showing Manitoba and Ontario Ojibwe communities](images/article_02_figure_02.svg) - -
-
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.
- -This divide manifests in finals characters that a) appear different in form from the base syllabic character in “a series”, and “b”) appear as a superscript version of the base syllabic in a series, commonly the a vowel orientation position in the series. - -
- -![Northern Ontario Ojibwe Syllabics finals variation between communities](images/article_02_figure_03.svg) - -
-
A comparison of the finals preferences for the different Ojibwe communities across the dialects in Northern Ontario that use Syllabics. Note that all Oji-Cree communities follow the same pattern as Western Cree Syllabics, which use finals characters that are different in shape than their base syllabic shape in a given series. The only variation in this pattern occurs in the Neskantaga community, which places the w dot on the left of the syllable in the Eastern Syllabics tradition. The primary variation occurs within Northwestern Ojibwe communities, where the Eastern Cree Syllabics tradition is largely followed, with the Eastern pattern of using superscript versions of the base syllabic in a series, in the “a vowel” orientation position. Within this preference for superscript finals, further variation occurs in the preference for the orientation scheme and vertical position of certain finals. In the Lac Seul community, either the “a position” or “i vowel” position orientation scheme is followed. In the Red Lake community, the standard a-position orientation pattern is followed, with the exception of the n final consonant being vertically positioned centered at the midline.
- -The high degree of variation in Syllabics typographic preferences in Northern Ontario Ojibwe communities is a result of the lack of any formal standardization, such as is seen in Inuktut and Cree Syllabics communities. Despite this lack of standardization, all of the local form variants are encoded in the Unicode Standard. - -## Plains Cree *y + w* dot transformation preference -There is variation within Plains Cree communities in terms of the use of different forms for the “y series” final character. The common form of this in Plains Cree is a plus mark (ᐩ); however, some communities prefer to use a superposed dot mark (ᐝ), which is graphically distinct from the common “y final”. It should be noted that this alternative “y final” form should take the shape of a closed “w dot” mark, as well as an open, small ring character, rather than two open ring characters. - -
- -![Showing Plains Cree y final variations](images/article_02_figure_04.svg) - -
-
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. - -
- -![Showing Plains Cree w + y final variations](images/article_02_figure_05.svg) - -
-
An example, above, of the combination sequence that some Plains Cree communities prefer when pure consonant "w" is followed by pure consonant “y”.
- -## Naskapi *spwaa* preferred form - -The Naskapi language community follows the Eastern Cree Syllabics pattern, which sees it used as a basis for the Algonquian Syllabics structures, with finals characters being superscript versions of the a vowel orientation scheme. - -
- -![Showing the preferred form of Naskapi spwaa syllable construction sequence](images/article_02_figure_06.svg) - -
-
Demonstrating two compositions of the Naskapi “spwaa” syllabic sequence. Although many typefaces compose this sequence as in example 1, above (U+150B ᔋ CANADIAN SYLLABICS NASKAPI S-W + U+1438 ᐸ CANADIAN SYLLABICS PA), the Naskapi community prefers the singular, composed glyph as in example 2, above.
- -The primary local preference that Naskapi requires is the combination of the syllabic for the spwaa (ᔌ) syllable. Many commonly available pan-Syllabics and Algonquian Syllabics typefaces provide this syllabic composed as a separated inline sequence. The Naskapi user community prefers the composite version of this syllabic form, with the “spw” modifier stacked on top of the base “pa” syllabic. While this form is intelligible in either composition, stylistically the local community prefers the composite form. - -## 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. - -## 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: - -[British and Foreign Bible Society], *The four Gospels and the Acts of the Apostles*. British and Foreign Bible Society, London, 1903 - -[Canadian Bible Society], *ᑲᐅᔅᑭᒋᒋᐱᒡ ᐊᑎᐸᒋᒪᑭᓄᐅᑦ ᒋᓴᔅ / The Beginning of the Story of Jesus*. Naskapi Development Corporation, Kawawachikamach, Québec, 2014 - -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 - -John Horden, *Bible and Gospel history, in Saulteux*. Society for Promoting Christian Knowledge, London, 1860 - -John Maclean, *James Evans: Inventor of the Syllabic system of the Cree language*, William Briggs, Toronto, 1890 - -[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/algonquian_syllabics/images/article_02_figure_01.svg b/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_01.svg deleted file mode 100644 index e8224c7525..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_01.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_02.svg b/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_02.svg deleted file mode 100644 index 8c77dfef87..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_02.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_03.svg b/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_03.svg deleted file mode 100644 index 133ff97618..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_03.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_04.svg b/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_04.svg deleted file mode 100644 index 35a71e1b95..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_04.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_05.svg b/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_05.svg deleted file mode 100644 index c4fa0dfd62..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_05.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_06.svg b/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_06.svg deleted file mode 100644 index e5d5871dd4..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/article_02_figure_06.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/thumbnail.svg b/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/thumbnail.svg deleted file mode 100644 index 133ff97618..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/images/thumbnail.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/lesson.textproto b/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/lesson.textproto deleted file mode 100644 index 2455d9cd52..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/algonquian_syllabics/lesson.textproto +++ /dev/null @@ -1,13 +0,0 @@ -name: "Algonquian Syllabics" -authors: "Kevin King" -reviewers: "Elliot Jay Stocks" -reviewers: "Peter Biľak" -topics: "language_support" -topics: "syllabics" -prev_lessons: "an_introduction_to_syllabics_typography" -next_lessons: "inuktut_syllabics" -related_terms: "contrast" -related_terms: "alternates" -related_terms: "readability" -related_terms: "typesetting" -excerpt: "This article presents and describes the local orthographic requirements and typographic preferences for the nêhiyawêwin (Cree), Anishinaabemowin (Ojibwe), and iyuw iyimuun (Naskapi) Syllabics-using communities." diff --git a/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/content.md b/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/content.md deleted file mode 100644 index 16da55c414..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/content.md +++ /dev/null @@ -1,382 +0,0 @@ -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). - -
- -![Syllabics-using languages community map](images/article_01_figure_01_png.png) - -
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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.
- -### Algonquian Syllabics - -Ojibwe / Anishinaabemowin Syllabics (ᐊᓂᔑᓇᐯᒧᐎᐣ) - -- Oji-Cree (ᐊᓂᐦᔑᓂᓃᒧᐏᐣ) -- Berens River Ojibwe (ᐊᓂᔑᓇᐯᒧᐎᓐ) -- Northwestern Ojibwe (ᓂᐊᑲᐤᐁᒧᐎᓐ) -- Western Ojibwe (ᓇᐦᑲᐍᒧᐏᐣ) -- Western Cree Syllabics (ᓀᐦᐃᔭᐍᐏᐣ) - -Plains Cree (ᓀᐦᐃᔭᐍᐏᐣ) -- Saskatchewan Plains Cree (ᒐᐦᑭᐯᐦᐃᑲᓇ) -- Manitoba Plains Cree (ᒐᐦᑭᐯᐦᐃᑲᓇ) -- Maskwacis Plains Cree (ᓀᐦᐃᔭᐌᐎᐣ) -- Northern Plains Cree (ᓀᐦᐃᔭᐍᒧᐏᐣ) -- Woods Cree (ᓀᐦᐃᖬᐍᐏᐣ) -- Western Swampy Cree (ᐃᓂᓃᒧᐏᐣ) -- Eastern Swampy Cree (ᐃᓂᓂᐎ ᐃᔑᑭᔗᐎᐣ) - -Eastern Cree Syllabics (ᓀᐦᐃᔭᐍᐏᐣ) -- Moose Cree (ᐃᓕᓖᒧᐎᓐ) -- Southern East Cree (ᐄᓅ ᐊᔨᒨᓐ) -- Northern East Cree (ᐄᔨᔫ ᐊᔨᒨᓐ) -- Naskapi / Iyuw Iyimuun (ᐃᔪᐤ ᐃᔨᒧᐅᓐ) - -### Inuktut syllabics - -Eastern Canadian Inuktut (ᐃᓄᒃᑎᑐᑦ) - -- Aivilingmiutut -- Sagliq (ᓴᒡᓕᖅ) -- Qangiqłiniq (ᑲᖏᖅᖠᓂᖅ)  -- Kivallirmiutut (ᑭᕙᓪᓕᖅ) -- Qairnirmiut (ᖃᒪᓂᑦᑐᐊᖅ) -- Hauniqturmiut (ᑎᑭᕋᕐᔭᖅ) -- Paallirmiut (ᑎᑭᕋᕐᔭᖅ) -- Ahiarmiut -- Nunavimmiuttitut (ᓄᓇᕕᒻᒥᐅᑎᑐᑦ) -- Itivimiut -- Tarramiut -- Qikiqtaaluk nigiani (ᕿᑭᖅᑖᓗᒃ ᓂᒋᐊᓂ) -- Southeast Baffin -- Southwest Baffin -- Qikiqtaaluk uannangani -- Iglulingmiut (ᐃᒡᓗᓕᒃ) -- Tununirmiut - -Western Canadian Inuktut - -- Nattilingmiutut (ᓇᑦᑎᓕᖕᒥᐅᑐᑦ) - -### Dene Syllabics - -Dulk wah'ke (ᑐᑊᘁᗕᑋᗸ) - -- Dakelh / Carrier (ᑕᗸᒡ) -- Nadot’en (ᘇᑎᗥᐣ) -- Witsuwit’en (ᗘᙢᗥᐣ) -- Tsek’ ene (ᒡᗧᗥᐣ) - -General Dene Syllabics - -- Beaver (ᑕᓀᖚ ᖚᗀᐥ) -- Chipewyan / Denesųłiné Yatíe (ᑌᓀ ᓱᒼᕄᓀ ᔭᕠᐁ) -- Saı́yısı́ dëne -- North Slavey / Sahtúot’ı˛nę Yat’í˛ (ᓴᑋᕲᖌᑎᑊᐠᓀᐠ ᔭᕱ) -- K’áshogot’ıné / K’ásho (ᑲᑊᗱᑯᑎᑊᓀ) -- Sahtúgot’ıné / Délįne (ᓴᑋᕲᒼᑯᑎᑊᓀ) -- Shıhgot’ıne / Shúhta (ᗰᑋᑯᑎᑊᓀ) -- South Slavey / Dene K'e (ᑌᓀ ᒐ) - -### Graphic Isolate - -Blackfoot / Siksiká (ᓱᖽᐧᖿ) - -- Kainai (ᖿᐟᖻ)  -- Piikani / Brocket (ᑯᖾᖹ) -- 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 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: - -## Rotation -A defining feature of Syllabics typography is the rotation of syllabic (syllable) characters across four potential orientations. While this serves an important linguistic purpose (to indicate vowel inflection), it also has notable implications for the design of Syllabics typefaces, particularly in those that contain a [contrast](/glossary/contrast) model. Typically, syllabic characters are reflections or rotations of one base character that populates the subsequent glyphs in a series, in some cases with minor optical adjustments. Since the graphic form of the Syllabics developed as a monolinear structure, there is no writing model to dictate a modulation structure in Syllabics typography. Rather, a modulation pattern is fixed onto the characters, and that pattern must also adhere to rotation through the four orientations. - -
- -![Rotation](images/article_01_figure_02_png.png) - -
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Top left, a study by the author after the late Anishinaabe professor Alex McKay, teaching the Anishinaabe (Ojibway) methodology for syllabic and finals stroke construction. The diagrams to the right of the study show syllabic series across all of their rotation orientations, with the effect on modulation structures shown in purple.
- -## Syllabic -A syllabic is a full- or medium-height character (depending on the style tradition) which represents a vowel or consonant cluster. Each syllabic form represents a consonant, and the base vowel is changed depending on its orientation (ᕓ=ve, ᕕ=vi, ᕗ=vo, ᕙ=va). Rotation is in fact the unique orthographic trait that distinguishes the Syllabics from other scripts, and this also underpins its design structure. Note that each syllabic form is typically unchanged when it is rotated across the four positions. - -
- -![Syllabic example](images/article_01_figure_03.svg) - -
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A diagram depicting syllabics characters, which represent syllables within the Syllabics writing system scheme. A consonant is represented by a base form, with the vowel in a syllable being inflected depending on the orientation of the base symbol. In the above example, the first line shows the pure vowel series, with subsequent syllable series’ on lines two and three, made up of syllabic base characters across their four rotations.
- -## Final -Finals are primary characters that are smaller in size than the full-size syllabics (but are not diacritic marks); they are typically about one half the scale of the syllabic characters. Some communities and their orthographies prefer that these characters appear as superscript versions of the a or i position syllabic (ᒪᐦᑭᓯᓐ), while others prefer shapes that do not reference the final pure-consonant syllabic they represent in a given series (ᒪᐦᑭᓯᐣ). - -
- -![Example of Eastern and Western Cree Finals character forms](images/article_01_figure_04.svg) - -
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A diagram depicting finals characters, in contrast to the larger syllabic characters. These forms represent the pure consonant sounds when no vowel is present and are notably smaller in comparison to the syllabic characters for distinction in text settings. The above example shows the difference between Eastern and Western finals character forms.
- -In many Syllabics orthographies, the finals are vertically positioned at the topline metric, which is the default positioning of finals characters in the Unified Canadian Aboriginal Syllabics (UCAS) code charts. This is the case for the Algonquian and Inuktut Syllabics; however, the orthographies for the languages that use the Dene Syllabics require variation in the vertical positioning of their finals marks between top-, mid- and baseline metrics in order for accurate pronunciation to be represented in these languages. The Carrier Syllabics similarly maintain a preference for their finals characters to be vertically positioned at the midline, although this preference is stylistic, rather than a requirement for accurate representation of the language in text. - -
- -![Topline, midline, and baseline finals vertical positioning](images/article_01_figure_05.svg) - -
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The above diagram shows the three vertical positions that finals characters can sit at within Syllabics typography. The variation in this position occurs in some languages as a stylistic means, however, in some, such as northern Dene languages, the vertical positioning is critical to the correct pronunciation of words.
- -## Series - -A series in the Syllabics is a collection of the syllabic and finals characters across their respective rotations in a given orthography (ᑫᑭᑯᑲᒃ). Note that the consonant remains consistent and the vowel inflection depends on the orientation in which the syllabic is rotated. The final character is used to represent a pure consonant form and is smaller in size when contrasted with the larger syllabic characters. - -
- -![Example of a series of syllabic and finals characters](images/article_01_figure_06.svg) - -
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Above, a diagram depicting the “k series” that is found across many Syllabics-using language communities.
- -## Square form vs round form styles - -In many script traditions, differing styles exist, with certain communities strongly identifying with one over the other. This can be seen in the style traditions within the Arabic script, for example, where some communities prefer the Naskh style for general text composition, while others, such as Persian communities, strongly identify with the Nasta’liq style. The same script and generally the same essential characters are being used across these communities, but each community expects to see their language written in their respective preferred style. To ignore this would result in a text that was neither culturally appropriate for local readers, nor able to adequately convey the meaning and atmosphere of the text for that readership. - -
- -![Comparing Arabic styles](images/article_01_figure_07.svg) - -
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A comparison of the same text rendered in two differing styles of the Arabic script: Naskh (top) and Nasta’liq (bottom).
- - -A similar situation exists within the stylistic spectrum of the Syllabics, where there are two dominant style traditions: the square form and the round form style. These systems differ typographically in their proportional relationships, particularly in terms of each model’s rules for height and width proportions for the syllabic characters. - -![Comparing Round versus Square form Syllabics styles](images/article_01_figure_08.svg) -
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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 “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** - -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. - -
- -![Comparing the word space widths in the Latin and Syllabics scripts](images/article_01_figure_09.svg) - -
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Above, a diagram depicting the difference between the required width for the Syllabics word space character in order for Syllabics texts to be readable. Compared to the Latin word space, line two, the Syllabics space must be significantly wider.
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- -![Comparing the Latin and Syllabics word space widths in a paragraph text setting](images/article_01_figure_10.svg) - -
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A comparison of the same text, one showing a word space glyph that is too narrow for legible Syllabics reading (1) and the other showing an ideal word space glyph width that allows for easy reading of Syllabics texts (2).
- -## Syllabics typographic grid -As in any type system, there are inherent vertical metrics that contribute to the optimal appearance of a given writing system. An aspect of the Syllabics typographic grid that must be observed is the relationship of the Syllabics to the vertical metrics of the Latin scripts, as these two systems are frequently used together. This has much to do with the internal counter spaces of the Syllabics, which are wide and usually open, and contribute to a horizontal movement on the line. By contrast, the internal counter rhythm of Latin type is very narrow and vertical, which gives it a more vertical stance in lines of type. For this reason, the topline of the full-height Syllabics characters should be roughly 10–15% shorter than that of the Latin cap height, even when the Syllabics is set on its own in paragraphs of text. - -
- -![Comparing the vertical metric grid of Latin and Syllabics scripts](images/article_01_figure_11.svg) - -
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The vertical metric proportions that are inherent and ideal to the Unified Canadian Aboriginal Syllabics script are shown above. Note that the Syllabics topline is roughly 10–15% shorter than the capital height in the Latin script. This variable is important for achieving an ideal harmony between the two scripts.
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- -![Comparing the inherent counter structure of the Latin and Syllabics scripts](images/article_01_figure_12.svg) - -
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A comparison of the internal counter structure of the Latin script and the Syllabics. The Syllabics have an inherently horizontal and linear inner rhythm, which forms wide, open spaces. The Latin—by contrast—has a vertical internal proportion rhythm.
- -## The importance of the midline - -In the vertical metric proportions for the Syllabics, the midline is an essential grounding point for anchoring the full-sized syllabic forms (full height and medial height), finals, and diacritic marks. - -The midline provides a unit of measure for the appropriate and ideal size of the finals characters. While there can be no definitive vertical height metric for these marks, ideally they all generally conform to a height proportion dictated by the midline. This allows them to remain at a size that allows for their easy distinction in text settings, making word images easier to decipher. - -## Syllabics hyphen and full stop - -While many orthographies use only Latin punctuation marks, many of the Algonquian Syllabics communities employ a script-specific hyphen and full stop mark. These marks are important in such orthographies—especially the Western Algonquian Syllabics model—whose finals marks risk becoming ambiguous when used with the Latin hyphen and full stop character forms. - -
- -![Showing the Syllabics-specific hyphen and full stop character representations](images/article_01_figure_13.svg) - -
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A depiction of the Syllabics-specific hyphen (U+1400) and full stop (U+166E) characters. Many Algonquian Syllabics communities – particularly those that use the Western pattern of finals characters—require the use of these punctuation mark forms in order to avoid confusion between finals characters, and punctuation.
- -## Syllabics anatomy - -It is common for viewers outside of Syllabics-using communities to view the Syllabics characters as simple geometric constructs without a writing path direction. This is not the case, however, as syllabic characters do possess a construction pattern, which provides a view of the foundational components that build up Syllabics characters. If we look at the handwriting of Syllabics users, we can see the common stroke construction and these foundational structures quite clearly, which, together, paint a useful picture of the underlying structure of Syllabics typefaces. - -
- -![Anatomical construction of Syllabics glyphs](images/article_01_figure_14_png.png) - -
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The above diagrams show the broken construction model from a sample of everyday handwriting, which reveals the components inherent to Syllabics character forms. Note that Syllabics characters are largely composed of straight, linear strokes, curved hooks, and circular shapes (which was referred to as “rings” within the nomenclature of the writing system). These patterns vary only in the Dakelh (Carrier) Syllabics, which employ more complex, ornate shaping in their Syllabics characters. From Tamalik, Letter of support to the Unicode Technical Committee, 3 September 2020.
- -## Line spacing - -While the Syllabics possess a structure that features relative uniformity in the height metric compared to the Latin script, with only diacritic marks reaching above the topline height of the characters, and generally no elements reaching below the baseline, paragraphs of text benefit greatly from wider line spacing than is typically seen or needed in the Latin script. The large, wide-open counters in many characters—which tend to manifest frequently across the various orthographies and the patterns their languages produce—result in large pockets of whitespace interspersed throughout a given paragraph. These large voids of whitespace can form rivers through a paragraph of text that interfere with the reading experience significantly. Increasing line spacing helps solve for this. These same factors are why word spacing must be of an appropriate width to suit the wide Syllabics character forms. - -
- -![Showing ideal line spacing for Syllabics paragraphs](images/article_01_figure_15.svg) - -
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An example showing the impact that greater spacing between lines has on the readability of Syllabics texts.
- -## 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. - -
- -![showing Syllabics-specific punctuation and special characters](images/article_01_figure_16.svg) - -
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An example of punctuation marks tailored to suit the proportions of the Syllabics, and those designed to suit the Latin script, in the same type system.
- -## Numerals - -As in the script-specific substitutions for the punctuation marks and special characters shared between the Latin and Syllabics scripts, a similar solution is required for numerals, in order that they harmonize well with the inherent proportions of the writing system. As previously noted, the shorter height and wider character proportions of the Syllabics are counter to those of the Latin script. The numerals in a typeface that have been designed for use with the Latin script will be too tall, and too narrow in width, to create a comfortable rhythm in Syllabics text settings. This is particularly true for nested settings in paragraphs, as well as lists. It is also worth noting that the Syllabics—a unicase script that features only the rarest occurrences of a descender in some dialects of Inuktut (ᖢᖤ)—only requires the use of lining figures, and not a model varied in height as in oldstyle figures. - -
- -![Comparing Syllabics and Latin script numerals proportions](images/article_01_figure_17.svg) - -
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Numerals that are designed to suit both the height proportions and width proportions of the Syllabics, left. This is compared to the standard lining figures that would suit the proportions of the Latin script.
- -## Line lengths - -Generally, the Syllabics will need a wider paragraph measure than the Latin script to account for the wider stance of the writing system (as noted above). This is variable, however, and depends on the language in which the respective script is being typeset. The Algonquian and Inuktut Syllabics tend to have on average long word character counts, which results in a significantly longer line length needed compared to English or French text. The Dene Syllabics (which also includes the Carrier Syllabics)—in contrast to the Algonquian and Inuktut Syllabics—possess word character count lengths that are much shorter on average, thus allowing for narrower paragraph measures. However, a wider line length is still advantageous for easier reading, as the same internal counter structure discussed above is present in the Dene Syllabics, which benefits from the added space. - -
- -![Comparing a narrow and more ideal, wide line length for Syllabics text](images/article_01_figure_18.svg) - -
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The above example compares a narrow line length, to that of a wider line length, for Syllabics paragraphs. Syllabics paragraphs benefit from a wide line length for easier readability.
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- -![Comparing a more ideal line length for the romanization texts that may accompany Syllabics texts](images/article_01_figure_19.svg) - -
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Syllabics paragraphs require a wide line length to a comparative French or English language text, of which Indigenous languages set in Syllabics are often paired in multilingual documents. Similarly, it is very common in language learning contexts to have transliterations of Syllabics texts in the standard roman orthography of the language in question. In situations such as these, a similar or identical line length for both the Syllabics and transliterated roman text is ideal, due to longer character counts in the Latin script text.
- -## Romanisations - -While this essay focuses on a discussion of the Syllabics and its inherent typographic conventions, each community that uses this writing system also requires the use of a standard roman orthography. In the Indigenous language communities that use this script, Syllabics is the primary orthography for writing the language, with the romanisations necessary for transliterations of Syllabics texts—mainly for language learning purposes, for accessibility of texts for non-local speakers, and to provide a mode of text input on various digital platforms. - -
- -![Dakelh (Carrier) Syllabics and romanization](images/article_01_figure_20.svg) - -
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A section from a Carrier (Dakelh) text by Francois Prince, 2021, which shows a transliteration of the Syllabics text in the Carrier languages standard roman orthography.
- -When working with romanizations of a language that also uses Syllabics, it is important to pay close attention to the text composition/decomposition requirements of the roman orthography. In some languages, the standard roman orthography has no special requirements in this area—such as Inuktut, Cree and Ojibway. Others, however, feature glyph sequences requiring combining marks that must stack on top of or beneath the base glyph in order for the romanised text to be readable. This is true for many of the Dene languages that also employ a Syllabics orthography. Care is needed when choosing a font that accommodates these requirements, as most typesetting scenarios for these languages will require the handling of both Syllabics and roman text. - -
- -![Chipewyan Syllabics and romanization text rendering issues](images/article_01_figure_21.svg) - -
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Showing the glyph composition/decomposition requirements for the Chipewyan (Dëne Sųłınë́ Yatıé) language’s standard roman orthography, which requires a typeface with the applicable mark-to-mark attachment rules to specify the stacking of the combining acute diacritic mark (purple).
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- -![Common mark to mark attachment error in the roman orthographies of Indigeonus languages in North America](images/article_01_figure_22.svg) - -
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In the standard roman orthographies of many Dene languages (as well as many of the standard roman orthographies of Indigenous language across North America), mark-to-mark attachment rules are required to render diacritic stacking sequences, such as the above example. If the font being employed is not capable of rendering such sequences, a situation such as seen in the left example will occur, where the combining diacritic overlaps with the base glyph. This results in an unreadable text for the user community. It is important, therefore, to select a typeface that accommodates this behavior for these language communities.
- -## 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. - -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. - -## Local typographic preferences in Syllabics-using Indigenous communities - -While there are many general conventions in Syllabics typography which permeate the multiple languages that use the writing system, there is also a great deal of local variation in the typographic preferences between individual communities across North America. This is not only due to the large geographic spread of the Syllabics across the continent, but is also the result of the self-governance of some linguistic communities, and the lack of large-scale standardization in the writing system. For example, the local preferences in some Ojibway communities might show only slight differences from those of nearby groups, or vast ones, often for geopolitical reasons. In some cases, these variations in stylistic patterns have a long tradition of use by a given community, and should be accommodated as they are important to the community’s independent visual and linguistic identity within a larger language family. The following section documents these variations across the Indigenous communities that use the Syllabics, and provides insights towards employing these variations. - -Often, analyses of the Syllabics as a writing system focus on the major and minor language family classifications into which the corresponding Indigenous communities who use the script are divided. However, a more appropriate basis for organizing the Syllabics-using communities is to focus on the graphic attributes of the orthographies. This leads to a grouping of the communities into three major traditions: the Algonquian Syllabics, the Inuktut Syllabics and the Dene Syllabics. By collating the languages into groups by the tradition they fall into, we can more clearly follow the development of Syllabics across North America from an historical perspective, and see where, how and why certain styles and practices arrived in certain communities, and we can better detail the nuances of current local preferences. - -
- -![Showing several different Syllabics traditions and the wide scope of graphic variation between Syllabics-using Indigenous languages of Canada](images/article_01_figure_23.svg) - -
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A showing comparing the graphic similarities and differences between the many orthographies that use the Syllabics. Note the similarity between the Algonquian and Inuktut Syllabics traditions, and the visual distinctions of the Dene Syllabics traditions.
- -## 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: - -**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. - -## 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: - -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 - -[British and Foreign Bible Society], *The four Gospels and the Acts of the Apostles*. British and Foreign Bible Society, London, 1903 - -[Canadian Bible Society], *ᑲᐅᔅᑭᒋᒋᐱᒡ ᐊᑎᐸᒋᒪᑭᓄᐅᑦ ᒋᓴᔅ / The Beginning of the Story of Jesus*. Naskapi Development Corporation, Kawawachikamach, Québec, 2014 - -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 - -Ervin Bird Glass, John McDougall, *The ritual of the Methodist Church, with forms of prayer*. Methodist Missionary Society, Toronto, 1899 - -John Horden, *Bible and Gospel history, in Saulteux*. Society for Promoting Christian Knowledge, London, 1860 - -[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 - -[ᐃᓕᓴᕐᓂᓕᕆᒥᖅ / Kativik Ilisarniliriniq], *ᐋᕐᕐᑭᓯᒪᑎᑦᓯᓂᕐᓄᑦ ᐸᕐᒣᓀᒍᑏᑦ 2016–2023 / Strategic plan 2016–2023*. from ᑲᑎᕕᒃ ᐃᓕᓴᕐᓂᓕᕆᒥᖅ / Kativik Ilisarniliriniq, 2016. - -Louise Perrault, *Prières, cantiques et catéchisme en langue Montagnaise ou Chipeweyan*. Montréal, 1857. - -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. - -Adrien-Gabriel Morice, *ᗫᣟ ᑐᔆᘼᔆ ᐅᙨᑐᐟᣟᐈᑋ / Carrier reading-book*. Fort Saint James, 1894. - -Adrien-Gabriel Morice, *Mission Papers (ᑐᔆᘼᔆ ᘇᗘᑊᘄᐟ), Second Edition (ᗪᒡ   2   ᑐᔆᘼᔆ)*, Volume 11 (ᗪᒡ   11   ᙓᘄᐣ), 1891. - -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 - -[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/an_introduction_to_syllabics_typography/images/article_01_figure_01_png.png b/cc-by-sa/knowledge/modules/syllabics/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/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/an_introduction_to_syllabics_typography/images/article_01_figure_02.svg b/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/images/article_01_figure_02.svg deleted file mode 100644 index 49396892da..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/images/article_01_figure_02.svg +++ /dev/null @@ -1,52 +0,0 @@ - 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\ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/images/article_01_figure_23.svg b/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/images/article_01_figure_23.svg deleted file mode 100644 index 4b720c3abb..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/images/article_01_figure_23.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/images/thumbnail.svg b/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/images/thumbnail.svg deleted file mode 100644 index e5019a26c3..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/images/thumbnail.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/lesson.textproto b/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/lesson.textproto deleted file mode 100644 index 7454e36a3d..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/an_introduction_to_syllabics_typography/lesson.textproto +++ /dev/null @@ -1,16 +0,0 @@ -name: "An introduction to Syllabics typography" -authors: "Kevin King" -reviewers: "Elliot Jay Stocks" -reviewers: "Peter Biľak" -topics: "language_support" -topics: "syllabics" -next_lessons: "algonquian_syllabics" -related_terms: "contrast" -related_terms: "alternates" -related_terms: "alignment_justification" -related_terms: "quotation_mark" -related_terms: "readability" -related_terms: "shaping" -related_terms: "spaces" -related_terms: "typesetting" -excerpt: "This article presents and describes the fundamental concepts that are inherent across all Syllabics typography." diff --git a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/content.md b/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/content.md deleted file mode 100644 index 53c2e36fde..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/content.md +++ /dev/null @@ -1,93 +0,0 @@ -The Dakelh (Carrier) Syllabics—while graphically very distinct from all of the other Indigenous languages that use Syllabics orthographies—are stylistically linked to the typographic appearance of the square form style, which connects Dakelh visually with the Dene Syllabics and the orthographies within that group. As a result, the Dakelh Syllabics syllable characters are all expected to appear at a uniform height, without variation in between full- and medium-height characters, as is seen in the Algonquian and Inuktut Syllabics orthographies. - -Although multiple version of the system exist, the orthography developed by Alexander and Morice  remains the model preferred today by all of the communities with the Dakelh (Carrier) Nation, with the syllabic and finals characters and the correct orientations depicted in their charts as the standard. - -The Typotheque Syllabics project worked with Dakelh community members and language experts Francois Prince and Dennis Cumberland in order to correct errors in the representative glyphs for the Dakelh Syllabics in the UCAS code charts. While this effort successfully corrects the Dakelh Syllabics character appearances at the text standards level, there are still preferences in terms of Dakelh Syllabics typography that require additional accommodation in the Typotheque November and Lava Syllabics fonts. - -## Preferred glyph shapes - -The Dakelh Syllabics prefer all syllabic characters to be of a uniform height (for all syllabic characters to reach the topline, with no variation in medium-height characters) and all finals characters to be vertically positioned at the midline. Having the finals placed at the midline is a stylistically based requirement; however, this does also aid in the readability of Dakelh Syllabics texts and the ease of legibility for word images. - -
- -![Comparision of incorrect and correct Dakelh (Carrier) Syllabics representative glyphs](images/article_05_figure_01.svg) - -
-
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** - -## Vertical positioning of finals - -The final pure consonant marks for Dakelh Syllabics are all vertically positioned at the midline. While this is not as essential for the correct pronunciation of the text as in other Dene languages, it is important for finals to be positioned at the center point of the word in order to increase the legibility and readability of texts. As the Dakelh Syllabics uses its own unique variation of the square form Syllabics style, the vertical centring of the finals marks provides greater emphasis to the pure consonant sounds, and makes them easier to distinguish within a word. In addition to these reasons, this is also the expected correct style and the local preference for the positioning of finals in all of the communities that use the Dakelh Syllabics. - -
- -![Showing the correct vertical positioning of Dakelh (Carrier) finals glyphs](images/article_05_figure_02.svg) - -
-
Above, an example of the preferred vertical positioning for the finals characters in the Carrier Syllabics.
- -Although there are disunified finals characters for Dakelh within the UCAS main block (ᑋ ᔆ ᓑ ᗮ ᘁ ᙆ ᙇ ᙚ ᣵ), the majority of the finals the orthography uses are unified with characters shared with other orthographies – notably the Inuktut and Algonquian Syllabics orthographies. This produces a conflict with the vertical positioning preferences and requirements for the respective finals glyphs ᐦ ᒡ ᑊ ᐡ ᒼ ᐣ ᐟ ᐠ in most commonly available typefaces for the Carrier community. - -## Modifier marks - -Dakelh Syllabics uses a raised dot (graphically similar to the dot diacritic mark used in other Syllabics orthographies to mark long vowel extensions) to represent a glottal stop. Note the vertical positioning of the raised dot (U+18DF) above, highlighted in orange. This mark is not centered at the midline, as in the finals characters, but rather it is raised to sit at the topline of the syllabic characters. Historically, this mark tended to sit positioned at the top of the centered finals marks, but in contemporary uses, it is placed at the topline. - -## 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** - -
- -![Showing variations in the representation of pure consonant r in Dakelh (Carrier) Syllabics](images/article_05_figure_03.svg) - -
-
Showing the two variations in the graphic representation of the pure consonant "r" in the Carrier Syllabics, both of which are employed today.
- -The sound “f”—as “r”—is also not encountered in the Dakelh language, with it normally being found in French or English loan words. The shape used for marking the “f” consonant in Dakelh Syllabics texts is the UPTURNED H character, which functions in the same manner as other finals characters in the orthography. It should be noted that the upturned h (U+1DA3) is not within the UCAS repertoire. This may create rendering conflicts if this code point is shared with another orthography within a type family that has differing requirements for this character. - -
- -![Showing variations in the representation of pure consonant f in Dakelh (Carrier) Syllabics](images/article_05_figure_04.svg) - -
-
A showing of the representation of consonant “f” in the Dakelh Syllabics, which is encoded using U+1DA3 ᶣ MODIFIER LETTER SMALL TURNED H, a character encoded in Unicode, but outside of the UCAS range. While the encoding location of this character within the Unicode Standard is not important, it is necessary to ensure that the typeface being used to compose Dakelh Syllabics texts contains this code point, which many pan-UCAS typefaces do not include within their glyph sets.
- -## 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: - -**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 - -## 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: - -[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 - -Louise Perrault, *Prières, cantiques et catéchisme en langue Montagnaise ou Chipeweyan*. Montréal, 1857. - -Adrien-Gabriel Morice, *ᗫᣟ ᑐᔆᘼᔆ ᐅᙨᑐᐟᣟᐈᑋ / Carrier reading-book*. Fort Saint James, 1894. - -Adrien-Gabriel Morice, *Mission Papers (ᑐᔆᘼᔆ ᘇᗘᑊᘄᐟ), Second Edition (ᗪᒡ   2   ᑐᔆᘼᔆ)*, Volume 11 (ᗪᒡ   11   ᙓᘄᐣ), 1891. - -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/dakelh_carrier_syllabics/images/article_05_figure_01.svg b/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_01.svg deleted file mode 100644 index 3c4cd74863..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_01.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_02.svg b/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_02.svg deleted file mode 100644 index e11a5d6f23..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_02.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_03.svg b/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_03.svg deleted file mode 100644 index 8a02d2191e..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_03.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_04.svg b/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_04.svg deleted file mode 100644 index 1b92008972..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/article_05_figure_04.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/thumbnail.svg b/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/thumbnail.svg deleted file mode 100644 index e11a5d6f23..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/images/thumbnail.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/lesson.textproto b/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/lesson.textproto deleted file mode 100644 index 38d1bf56ee..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dakelh_carrier_syllabics/lesson.textproto +++ /dev/null @@ -1,13 +0,0 @@ -name: "Dakelh (Carrier) Syllabics" -authors: "Kevin King" -reviewers: "Elliot Jay Stocks" -reviewers: "Peter Biľak" -topics: "language_support" -topics: "syllabics" -prev_lessons: "dene_syllabics" -related_terms: "contrast" -related_terms: "alternates" -related_terms: "readability" -related_terms: "shaping" -related_terms: "typesetting" -excerpt: "This article presents and describes the local orthographic requirements and typographic preferences for the Dakelh (Carrier) Syllabics-using communities." diff --git a/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/content.md b/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/content.md deleted file mode 100644 index 86d717916a..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/content.md +++ /dev/null @@ -1,63 +0,0 @@ -The Dene (Athabaskan) Syllabics faced orthographic requirements that differed from those representations for the Algonquian or Inuktut languages, primarily in the size of the orthography, and in phonetic distinctions that represent a greater inventory of sounds. Additionally—as mentioned in the section Dissemination of Syllabics across North America—French Catholic missionaries largely adapted Syllabics for the Dene languages, and this led to the use of the square form style. This was not only stylistically distinct and preferred in these communities; it was also required in order to allow the legible reading of Dene Syllabics texts. In order for Dene Syllabics orthographies to represent the many consonants and inflections in the language, finals marks had to be positioned at varying vertical positions in relation to the baseline rather than consistently at the topline. The Dene Syllabics can be split into two distinct yet related groups: the general Dene Syllabics and the Carrier Syllabics. - -## The square form style preference - -The Dene Syllabics use the square form style, with all communities preferring this form over the round form. It can even be argued that the square form use in the Dene Syllabics is a requirement for these orthographies, due to the required behaviors of the finals marks in these systems. In contrast to the Algonquian and Inuktut Syllabics, the Dene Syllabics needed to represent in their orthographies a much greater range of consonants and their corresponding syllables. As a result, finals characters were designed to sit at varying vertical positions in relation to the baseline and topline. This meant that having a uniform height for the syllabic characters was essential in order that readers were able to distinguish these finals marks. - -
- -![Showing a comparison of the same words in the Square form and Round form Syllabics styles](images/article_04_figure_01.svg) - -
-
A comparison of Sayisi Dene Syllabics in the round form style (top) and the square form style (bottom). Note that the square form style in the bottom sample allows for the variation in the vertical positioning of the finals characters to be more clearly distinguished than in the round form style showing of the same text.
- -## Vertical positioning variation for finals - -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** - -
- -![Syllabics-using languages community map](images/article_04_figure_02.svg) - -
-
A showing of the vertical positioning variation for finals characters across four separate Athabaskan languages that use the Dene Syllabics.
- -As a result of these preferences, Syllabics fonts wishing to support the Dene Syllabics should provide the correct vertical positioning schemes for all Dene Syllabics orthographies by offering midline and baseline finals. - -## 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: - -**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 - -## 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: - -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 - -[British and Foreign Bible Society], *The four Gospels and the Acts of the Apostles*. British and Foreign Bible Society, London, 1903 - -Ervin Bird Glass, John McDougall, *The ritual of the Methodist Church, with forms of prayer*. Methodist Missionary Society, Toronto, 1899 - -[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 - -Louise Perrault, *Prières, cantiques et catéchisme en langue Montagnaise ou Chipeweyan*. Montréal, 1857. - -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/dene_syllabics/images/article_04_figure_01.svg b/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/images/article_04_figure_01.svg deleted file mode 100644 index 50cb9b5913..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/images/article_04_figure_01.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/images/article_04_figure_02.svg b/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/images/article_04_figure_02.svg deleted file mode 100644 index 83349417e0..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/images/article_04_figure_02.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/images/thumbnail.svg b/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/images/thumbnail.svg deleted file mode 100644 index 50cb9b5913..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/images/thumbnail.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/lesson.textproto b/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/lesson.textproto deleted file mode 100644 index 8bb9d87498..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/dene_syllabics/lesson.textproto +++ /dev/null @@ -1,14 +0,0 @@ -name: "Dene Syllabics" -authors: "Kevin King" -reviewers: "Elliot Jay Stocks" -reviewers: "Peter Biľak" -topics: "language_support" -topics: "syllabics" -prev_lessons: "inuktut_syllabics" -next_lessons: "dakelh_carrier_syllabics" -related_terms: "contrast" -related_terms: "alternates" -related_terms: "readability" -related_terms: "shaping" -related_terms: "typesetting" -excerpt: "This article presents and describes the local orthographic requirements and typographic preferences for the Dene (Athabaskan) Syllabics-using communities." diff --git a/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/content.md b/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/content.md deleted file mode 100644 index 9c467d934e..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/content.md +++ /dev/null @@ -1,61 +0,0 @@ -The Inuktut (Inuktitut) Syllabics share a strong graphic relationship with the Algonquian, owing much to the relative proximity of Inuktut communities to an early and major center for Syllabics printing in the area: Moose Factory, Ontario. As Moose Factory was a center for Indigenous language printing, the resident printer John Horden was approached by a group of Inuktut speakers in Northern Québec to print their language in Syllabics. Horden typeset and printed these early texts in his Cree type material, which therefore provided the foundation for the current style of Inuktut Syllabics: round form style with superscripted finals in the “avowel” position. - -With the first printed work in the language, the Inuktut Syllabics essentially inherited the Algonquian Syllabics style via the type material that Horden’s press had available. Horden is noted as implementing the Syllabics pattern of using a superscript version of the “a vowel” syllable position as the final character of a series. While the first book that Horden printed in Inuktut Syllabics used Western Cree finals to note the finals characters in Inuktut, shortly thereafter Inuktut Syllabics adopted the convention of using the a vowel position syllable as the final character in each series. In particular this meant that Inuktut adopted from the outset both the round form shape structure and the pattern of using superscripted final characters oriented after the a vowel position of the given series (ᓀ=ne ᓂ=ni ᓄ=no ᓇ=na ᓐ=n). As printing operations were established in Inuktut communities, the orthography was adapted to suit the unique phonetic needs of the language and the various dialects across the circumpolar region. - -​​In some Inuktut Syllabics communities, a great deal of effort has been made towards orthographic standardization that allows for a more cohesive and consistent representation of all dialects within a linguistic region. Such is the case with the Inuktut Syllabics (ᖃᓂᐅᔮᖅᐸᐃᑦ  qaniujaaqpait), where efforts in the mid-1970s by the Inuit Cultural Institute (ICI) reformed the Syllabics (and roman orthography qaliujaaqpait) into one consistent repertoire. This reform was an attempt to organize all of the various dialects of Inuktut across the Canadian Arctic, particularly in Nunavut and the Nunavik region of Northern Québec. Regional variation, however, still persists to the present day. - -## Nunavik *ng* (ᖕ) preferred form - -One of the most notable localisation preferences in all of Syllabics typography is the different preferences, in the Nunavik and Nunavut communities, in terms of the final “ng” character (“angma” in Inuktut). In the Nunavut region, the form for the “ng” final takes the shape of a combined sequence of ᓐ + ᒡ, which results in the shape ᖕ. By contrast, the Nunavik region’s communities prefer their “ng” to be a sequence of ᓐ + ᒃ, resulting in the shape ᖕ. - -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** - -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) - -
-
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.
- -
- -![Comparing the preferred representation of the Nunavut and Nunavik ng final form](images/article_03_figure_02.svg) - -
-
A comparison of the same text using the Nunavut and Nunavik local preferences for the ng final glyph shape composition, respectively.
- -This preference is satisfied in Typotheque’s November and Lava Syllabics typefaces through the implementation of OpenType Stylistic Set substitutions, which allows for switching between these two preferred character variants for these user communities. - -## 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: - -**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. - -## 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: - -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 - -[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 - -[ᐃᓕᓴᕐᓂᓕᕆᒥᖅ / Kativik Ilisarniliriniq], *ᐋᕐᕐᑭᓯᒪᑎᑦᓯᓂᕐᓄᑦ ᐸᕐᒣᓀᒍᑏᑦ 2016–2023 / Strategic plan 2016–2023*. from ᑲᑎᕕᒃ ᐃᓕᓴᕐᓂᓕᕆᒥᖅ / Kativik Ilisarniliriniq, 2016. - -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/inuktut_syllabics/images/article_03_figure_01.svg b/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/images/article_03_figure_01.svg deleted file mode 100644 index f08801cc3f..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/images/article_03_figure_01.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/images/article_03_figure_02.svg b/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/images/article_03_figure_02.svg deleted file mode 100644 index 9c7df2cfa1..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/images/article_03_figure_02.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/images/thumbnail.svg b/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/images/thumbnail.svg deleted file mode 100644 index 9c7df2cfa1..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/images/thumbnail.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/lesson.textproto b/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/lesson.textproto deleted file mode 100644 index b37e4ebe41..0000000000 --- a/cc-by-sa/knowledge/modules/syllabics/inuktut_syllabics/lesson.textproto +++ /dev/null @@ -1,14 +0,0 @@ -name: "Inuktut Syllabics" -authors: "Kevin King" -reviewers: "Elliot Jay Stocks" -reviewers: "Peter Biľak" -topics: "language_support" -topics: "syllabics" -prev_lessons: "algonquian_syllabics" -next_lessons: "dene_syllabics" -related_terms: "contrast" -related_terms: "alternates" -related_terms: "readability" -related_terms: "shaping" -related_terms: "typesetting" -excerpt: "This article presents and describes the local orthographic requirements and typographic preferences for the Inuktut (Inuktitut) communities who use Syllabics." 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/using_type/lessons/the_complications_of_typographic_size/content.md b/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/content.md deleted file mode 100644 index 29319c9082..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/content.md +++ /dev/null @@ -1,87 +0,0 @@ -The process of establishing an appropriate [font](/glossary/font) size for different elements is more complicated than it might seem at first. In the context of web design, it can be especially tricky to weigh all the factors involved for an ideal reader experience. While keeping track of all these issues can sometimes cause headaches, it’s helpful to at least be aware of them and approach the job of setting type with as much knowledge as possible. Let’s go through some of the most relevant considerations. - -## A font’s body size only says so much about the actual size of its glyphs - -Different fonts set at the same nominal font size can—and often do—look like they are set at very different sizes. This is because the standard technique for specifying typographic size is tied to the font’s body height. - -In digital fonts, every [glyph](/glossary/glyph) sits on its own invisible box, or body. The body establishes how much space is built in around each glyph by default, among other things. Different glyphs can have different body widths, but all glyphs in one font share the same body height, and that height is the [em](/glossary/em). Glyphs can extend beyond the bounds of their body, but most fonts are usually produced so the tops and bottoms of the [ascenders and descenders](/glossary/ascenders_descenders) fully fit vertically within the em. When setting the font size in most contexts—including in CSS—we’re specifying the intended size of the *em.* When the font size is 16px, the em is 16px. - -
- -![Two typefaces, Verdana and Baskerville, compared side-by-side, with annotations showing the percentage of the font size taken up by their respective x-heights.](images/xheights.svg) - -
- -The problem is that the metrics that most affect how large a [typeface](/glossary/typeface) appears—like its [cap height](/glossary/cap_height) or [x-height](/glossary/x_height)—can vary quite a bit between different fonts with the same em size. For example, let’s compare two standard-issue versions of Verdana and Baskerville: Verdana’s x-height takes up about 55% of the font’s em. But Baskerville’s x-height only takes up about 40% of them em. As a result, Baskerville appears noticeably smaller than Verdana when set at the same font size. To achieve a similar visual size as Verdana, Baskerville must actually be set to a larger font size. - -Some design apps like Adobe Illustrator allow for font sizes to be specified according to metrics other than the em, like x-height or cap-height. This can be helpful for normalizing font sizes visually. Unfortunately, doing something similar in the context of CSS would currently require access to each font’s internal metadata, as well as some custom math calculations. - -## The most critical measurements for perceiving type sizes are angular - -Even young children understand that the closer something is to your eyes, the larger it will appear. Measurements for the perceived size of things when accounting for distance is measured not with fixed units like points or inches, but with angular measures such as degrees and [arcminutes](https://en.wikipedia.org/wiki/Minute_and_second_of_arc). - -
- -![Characters shown at different sizes, at different distances, to demonstrate how larger type, furtehr from the eye, is not that different from smaller type, viewed at a closer range.](images/angular.svg) - -
- -For example, [type](/glossary/type) with a physical size of 72 points viewed from a distance of 10 inches has [a perceived size](https://sizecalc.com/#distance=10inches&physical-size=72points&perceived-size-units=arcminutes) of about 5.72°, or 343 arcminutes. To match that same perceived size from 1.5 times the distance (15 inches away), you’d have to also [increase the physical size](https://sizecalc.com/#distance=15inches&perceived-size=343.488627arcminutes&physical-size-units=points) by 1.5 times (to 108 points). - -Angular measurements like this are the basis of [visual acuity](https://en.wikipedia.org/wiki/Visual_acuity) tests you may be familiar with from the [eye charts](https://en.wikipedia.org/wiki/Eye_chart) at your optician’s office. They also inform standards about the design of traffic signs and other critical text-based information. This way of measuring perceived size is among the most relevant when it comes to how we experience text in the real world because it’s directly related to how quickly and easily we can decipher letters and words. - -As you might imagine though, setting the size of type based on its perceived size in arcminutes isn’t always easy, possible, or even desirable. On the web, it can be especially tricky because the same design may need to function close up on a tiny device just as well as it does from multiple feet away on an extra-large desktop display. Other situations—for instance, video graphics being viewed by multiple people from different viewing points on a projected screen—also require special consideration. - -CSS media queries and responsive design go a long way toward compensating for all those potential reading environments. But without knowing the exact specifics of every reader, there will always be some amount of compromise, backed by estimation, assumption, and plain old guesswork. - -## It is currently impossible to confidently work with exact physical sizes on the web - -It may seem counterintuitive, but using CSS to specify “absolute” physical units like [points](/glossary/point_size), centimeters, or inches will not allow you to work with actual physical sizes in most cases. You can set the width of an element to `12in` in CSS, but if you measure the result as rendered on any given device it may not (and very likely won’t) be exactly 12 inches wide. And, in fact, it will probably be rendered at a different physical sizes between different devices. - -
- -![A physical ruler in front of a laptop screen, showing that inch-based measurements in CSS don’t acttually correlate to real-world measurements.](images/ruler.jpg) - -
- -The same goes for media queries. You can technically specify that you want the design of your web page to change when the reader’s browser window is, say, 20 centimeters wide. But that measurement of 20 centimeters won’t actually relate to a real-world length as measured with a ruler. The ability to confidently detect the actual physical size of a reader’s device or [viewport](/glossary/viewport) would be an immense benefit when it comes to the previously-mentioned necessity for estimation and assumption. Knowing a display’s width is 10 feet instead of 1 foot would help a lot with inferring how it’s likely being used. - -The “absolute” units are so unreliable for physical sizing because, at the end of the line, they are all just multipliers for pixels. And in web design, [pixels aren’t tied to any reliable physical size](https://alistapart.com/column/responsive-typography-is-a-physical-discipline/). This isn’t because the technology doesn’t exist to allow for such calculations. Most computer displays [can provide information about their physical attributes](https://en.wikipedia.org/wiki/DisplayID) to operating systems. Some design apps and PDF readers take advantage of this by allowing you to preview print layouts at actual scale. - -For web design though, the missing link is a specification for browsers to be able to take advantage of that information in the same way. For the time being, we’re stuck with pixels and multipliers of pixels for screen-based web design... Which leads us to the next topic of complication. - -## Pixels are only a vague concept - -If you ask most people what pixels are, they might say they’re the thousands of tiny elements in a computer’s display that light up in different colors to produce visible images. And they wouldn’t necessarily be wrong. - -In the early days of digital displays, when you specified the size of something in pixels, they mapped one-to-one with those tiny hardware elements. But, over time, things have become more complicated, with advances in technology and shifting expectations for the sizes of things on screens. The concept of a “software pixel” or “reference pixel” is [now separated](https://alistapart.com/article/a-pixel-identity-crisis/) from physical hardware pixels. If you specify the size of something in pixels, it may actually be rendered with two or more times the number of physical hardware pixels. This is a necessary measure to prevent things sized with pixel units from becoming impossibly small, as higher-resolution displays mean smaller and smaller physical pixels. - -In the context of web design, the pixel’s definition is now related to a visual angle of measure along the lines of the arcminutes discussed above. Specifically, the W3C specification [defines](https://www.w3.org/TR/css-values-3/#reference-pixel) a reference pixel as “the visual angle of one pixel on a device with a pixel density of 96dpi and a distance from the reader of an arm’s length. For a nominal arm’s length of 28 inches, the visual angle is therefore about 0.0213 degrees”. - -This approach of having an angular unit of measure is really great in theory, and partly addresses the issue mentioned earlier about perceived size. Unfortunately, the practical reality involves some compromises. The W3C’s own explanation describes how the definition was changed from a previous model, “because too much existing content relies on the assumption of 96dpi, and breaking that assumption broke the content.” The focus on backwards compatibility meant other values that may have otherwise been more intuitive, logical, or convenient weren’t used in the W3C’s updated definition of a pixel. - -Perhaps a bigger issue, though, is how inconsistently the newer definition of a pixel stands up (or doesn’t) across multiple devices. Even devices from the same manufacturer show fairly large variations in the angular measure for pixels when viewed at typical reading distances. It probably doesn’t help that most designers still (understandably) don’t identify pixels as an angular unit of measure. - -## The design of a typeface can affect its size requirements - -As if all of that wasn’t already tricky enough, it’s also worth considering that some typefaces simply perform better than others at certain sizes, even if you do manage to normalize all the other factors. - -
- -![Two columns of identical text, both set in the same typeface, but with different width settings. The wider type on the left appears optically larger than the narrower text on the right, even though their actual font size is the same.](images/widths.svg) - -
- -Condensed typefaces may benefit from a slight increase in size compared to wider counterparts, and typefaces with open apertures can perform better than others with tighter closed-in forms. Unusual design features can also cause legibility problems at small sizes. - -## Sizing up - -Despite some of the limitations and complications mentioned above, there’s still more flexibility and control with digital typesetting than ever before. Those looking to move beyond the most basic handling of typographic size on the web can: -- Experiment with API technologies like [DisplayID](https://en.wikipedia.org/wiki/DisplayID) and [RawDpi](https://learn.microsoft.com/en-us/uwp/api/windows.graphics.display.displayinformation.rawdpix) for working with actual physical size and resolution, even if it’s beyond the context of typical web browsers where they aren’t supported yet. -- Try setting font sizes according to internal font measurements like x-height, and/or even more complex [fluid sizing calculations](https://css-tricks.com/simplified-fluid-typography/) based on a variety of interrelated factors. -- Submit or support [feature requests](https://github.com/w3c/csswg-drafts/issues/614) for app developers and standards organizations to improve functionality for working with sizes based on physical measurements and/or internal font metrics. -- Get more comfortable thinking about [viewing distance and angular units of measure](https://sizecalc.com) when calculating type sizes. -- Be more observant about how different typefaces may require changes in size specifications due to differences in their design or production. -- Perhaps more important than anything, test the sizing logic on a variety of screens and devices to ensure it works reasonably well in as many environments as possible. - -The more knowledgeable and thoughtful designers are to the intricacies of typographics size, the better the experience can be for readers. \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/angular.svg b/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/angular.svg deleted file mode 100644 index 5751e94ae7..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/angular.svg +++ /dev/null @@ -1,22 +0,0 @@ - - - - - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/ruler.jpg b/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/ruler.jpg deleted file mode 100644 index a16dd80852..0000000000 Binary files a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/ruler.jpg and /dev/null differ diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/thumbnail.svg b/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/thumbnail.svg deleted file mode 100644 index 5751e94ae7..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/thumbnail.svg +++ /dev/null @@ -1,22 +0,0 @@ - - - - - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/widths.svg b/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/widths.svg deleted file mode 100644 index 461982e025..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/widths.svg +++ /dev/null @@ -1,27 +0,0 @@ - - - - - - - - - - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/xheights.svg b/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/xheights.svg deleted file mode 100644 index 75b85e4f8c..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/images/xheights.svg +++ /dev/null @@ -1,225 +0,0 @@ - - - - - - - - - - - - - - - - - - - - - - - - - - diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/lesson.textproto b/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/lesson.textproto deleted file mode 100644 index 6cb274324d..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/the_complications_of_typographic_size/lesson.textproto +++ /dev/null @@ -1,10 +0,0 @@ -name: "The complications of typographic size on the web" -authors: "Nick Sherman" -reviewers: "Piper Haywood" -reviewers: "Laurence Penney" -topics: "web_fonts" -prev_lessons: "introducing_parametric_axes" -next_lessons: "typesetting_on_a_curved_path" -related_terms: "web_font" -related_terms: "variable_fonts" -excerpt: "The process of establishing an appropriate font size for different elements is more complicated than it might seem at first, and, in the context of web design, it can be especially tricky to weigh all the factors involved for an ideal reader experience." diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/content.md b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/content.md deleted file mode 100644 index 6981771eb1..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/content.md +++ /dev/null @@ -1,88 +0,0 @@ -Most of the time when we set [type](/glossary/type), we do so on a straight line, but occasionally we need to manipulate the [baseline](/glossary/baseline) so that it follows a curve. And while this is generally rare, it’s something to consider when using type in circular interfaces, like those found on smartwatches. - -
- -![Wrapped text on a watch-like interface, and zoomed in to show the curved baseline.](images/curved_1.svg) - -
- -First, it’s useful to understand that there are two fundamentally different methods to setting type on a curved path: Warping and wrapping. - -The first method, warping, is where the actual geometry of the [glyphs](/glossary/glyph) is changed by the curve. The greater the font size, or the more intense the curve (the effect is the same), the more the [letterforms](/glossary/letterform) are distorted. This is particularly evident on the "E" and "D" glyphs in the illustrations below, where the stems get wider as the shape is further away from the transformation center: - -
- -![Three settings of the word “Warped”, on the same sized circular path, but each at a different font size. The distortion increases from left to right.](images/curved_2a.svg) - -
-
Warping. Circle path remains the same; font size changes. Typeface: Roboto Flex.
- -
- -![Three settings of the word “Warped”, on three circles of a different size, but each at the same font size. The distortion increases from top to bottom.](images/curved_2b.svg) - -
-
Warping. Circle path changes; font size remains the same. Typeface: Roboto Flex.
- -Generally speaking, warping does not produce good results, unless a very specific aesthetic style is desired (perhaps for logo work), and is not recommended in most circumstances—especially for UI work. - -The second method, wrapping, is where we set text along a path so that each glyph is rotated and placed accordingly, therefore maintaining the intrinsic geometry of the glyphs. Again, the greater the font size, or the more intense the curve (the effect is the same), the more obvious the baseline distortion becomes. - -
- -![Three settings of the word “Wraparound”, on the same sized circular path, but each at a different font size. The distortion increases from left to right.](images/curved_3a.svg) - -
-
Wrapping. Circle path remains the same; font size changes. Typeface: Roboto Flex.
- -
- -![Three settings of the word “Wraparound”, on three circles of a different size, but each at the same font size. The distortion increases from top to bottom.](images/curved_3b.svg) - -
-
Wrapping. Circle path changes; font size remains the same. Typeface: Roboto Flex.
- -Despite this, when setting type around a full circle, it usually looks better to have the text occupy more of the circle. - -
- -![“House Plant Heaven” set around a circle, with the first two words around the top and the word “Heaven” at the bottom. Then, the same again, but without the word “House”.](images/curved_4.svg) - -
-
The hypothetical logo on the left looks better, as it helps imply the whole circle. Typeface: Anybody.
- -However, the wrapping or rotation-based option will potentially introduce noticeable visible changes to the spacing between [characters](/glossary/character). This is perhaps more noticeable with [condensed](/glossary/condensed_narrow_compressed) type, but then [wider](/glossary/wide_extended) type creates its own issues, as the rotation of each glyph becomes more obvious. - -
- -![“Lazy dogs” set around two circles of the same size, at the same font size, but with different width settings for the type. The wider type takes up more space around the cirle.](images/curved_5.svg) - -
-
Experimenting with the width axis in Anybody.
- -With this in mind, it’s advisable to experiment with different widths and different [tracking](/glossary/tracking_letter_spacing) settings depending on the angle of the curvature and the size of the font. [Variable fonts](/glossary/variable_fonts) with a [width axis](/glossary/width_axis) can be particularly useful in this regard. - -[All-caps](/glossary/all_caps) type can work better due to the uniform shapes and sizes of the letterforms, but sentence case type can be fine if the typeface has a large [x-height](/glossary/x_height) and relative open tracking, as with [Roboto](https://fonts.google.com/specimen/Roboto): - -
- -![An approximation of a map, with curved text denoting street names. There are two examples, each using the same road shapes, but with the text set in uppercase in the first example, and sentence case in the second.](images/curved_6.svg) - -
- -To an extent, [serifs](/glossary/serif) can help to minimize the distorted spaces between glyphs. With serifs, the inter-character spaces are irregularly shaped already, so adding the bending is less noticeable: - -
- -![“Mind the gaps” set on identical paths, but in a sans serif typeface on the left and its slab serif counterpart on the right. Then, beneath, the same type with the spaces between the letterforms highlighted.](images/curved_7.svg) - -
-
With the sans serif, the triangular gaps become more consistent and obvious, and potentially more distracting. Typefaces: Roboto and Roboto Slab.
- -So, to summarize: - -1. Warping rarely produces good results. For UI design, use wrapping instead. -2. More characters, larger font sizes, and greater curvature angles will all exaggerate the reader’s perception of the curve, so combine with care. -3. The _rotation_ of each glyph is more noticeable with wider characters, but the _space between_ each glyph is more noticeable with narrower characters. Adjust font size and tracking accordingly to achieve the best balance. -4. If you have to use a typeface with a small x-height, try an all-caps setting. -5. Use serif typefaces to mask the more exaggerated spaces between characters. diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_1.svg b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_1.svg deleted file mode 100644 index 4bd4b32726..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_1.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_2a.svg b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_2a.svg deleted file mode 100644 index b547d615b6..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_2a.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_2b.svg b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_2b.svg deleted file mode 100644 index 0b501c6a45..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_2b.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_3a.svg b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_3a.svg deleted file mode 100644 index e90676c070..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_3a.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_3b.svg b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_3b.svg deleted file mode 100644 index 0c57379daf..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_3b.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_4.svg b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_4.svg deleted file mode 100644 index 7c848e442f..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_4.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_5.svg b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_5.svg deleted file mode 100644 index 5d1dd3b552..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_5.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_6.svg b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_6.svg deleted file mode 100644 index 6a4b8587de..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_6.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_7.svg b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_7.svg deleted file mode 100644 index 839e5fe0d9..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/curved_7.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/thumbnail.svg b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/thumbnail.svg deleted file mode 100644 index 4bd4b32726..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/images/thumbnail.svg +++ /dev/null @@ -1 +0,0 @@ - \ No newline at end of file diff --git a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/lesson.textproto b/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/lesson.textproto deleted file mode 100644 index ebabb86da5..0000000000 --- a/cc-by-sa/knowledge/modules/using_type/lessons/typesetting_on_a_curved_path/lesson.textproto +++ /dev/null @@ -1,13 +0,0 @@ -name: "Typesetting on a curved path" -authors: "Elliot Jay Stocks" -authors: "Adam Twardoch" -reviewers: "Lily Darling" -reviewers: "Laurence Penney" -topics: "readability" -topics: "width" -prev_lessons: "track_carefully_or_not_at_all" -next_lessons: "understanding_measure_line_length" -related_terms: "baseline" -related_terms: "width" -related_terms: "variable_fonts" -excerpt: "Most of the time when we set type, we do so on a straight line, but occasionally we need to manipulate the baseline so that it follows a curve. And while this is generally rare, it’s something to consider when using type in circular interfaces, like those found on smartwatches." diff --git a/cc-by-sa/knowledge/modules/using_type/module.textproto b/cc-by-sa/knowledge/modules/using_type/module.textproto index 8d39741ac8..b80a974da2 100644 --- a/cc-by-sa/knowledge/modules/using_type/module.textproto +++ b/cc-by-sa/knowledge/modules/using_type/module.textproto @@ -21,6 +21,4 @@ lessons: "loading_variable_fonts_on_the_web" lessons: "styling_type_on_the_web_with_variable_fonts" lessons: "switching_from_static_to_variable_fonts" lessons: "introducing_parametric_axes" -lessons: "the_complications_of_typographic_size" -lessons: "typesetting_on_a_curved_path" excerpt: "When you have a typeface, how can you use it with purpose? Equip yourself with the tools and processes needed to most meaningfully work with type, from setting appropriate measures and considered line heights, to working with web fonts and implementing variable fonts." diff --git a/cc-by-sa/knowledge/topics/syllabics/topic.textproto b/cc-by-sa/knowledge/topics/syllabics/topic.textproto deleted file mode 100644 index 58b274ba90..0000000000 --- a/cc-by-sa/knowledge/topics/syllabics/topic.textproto +++ /dev/null @@ -1 +0,0 @@ -name: "Syllabics"