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John Hudson
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Re: Cyrillic afii to Unicode table
http://partners.adobe.com/public/developer/en/opentype/aglfn13.txt0410;afii10017;CYRILLIC CAPITAL LETTER A 0411;afii10018;CYRILLIC CAPITAL LETTER BE 0412;afii10019;CYRILLIC CAPITAL LETTER VE 0413;afii10020;CYRILLIC CAPITAL LETTER GHE 0414;afii10021;CYRILLIC CAPITAL LETTER DE 0415;afii10022;CYRILLIC CAPITAL LETTER IE 0401;afii10023;CYRILLIC CAPITAL LETTER IO 0416;afii10024;CYRILLIC CAPITAL LETTER ZHE 0417;afii10025;CYRILLIC CAPITAL LETTER ZE 0418;afii10026;CYRILLIC CAPITAL LETTER I 0419;afii10027;CYRILLIC CAPITAL LETTER SHORT I 041A;afii10028;CYRILLIC CAPITAL LETTER KA 041B;afii10029;CYRILLIC CAPITAL LETTER EL 041C;afii10030;CYRILLIC CAPITAL LETTER EM 041D;afii10031;CYRILLIC CAPITAL LETTER EN 041E;afii10032;CYRILLIC CAPITAL LETTER O 041F;afii10033;CYRILLIC CAPITAL LETTER PE 0420;afii10034;CYRILLIC CAPITAL LETTER ER 0421;afii10035;CYRILLIC CAPITAL LETTER ES 0422;afii10036;CYRILLIC CAPITAL LETTER TE 0423;afii10037;CYRILLIC CAPITAL LETTER U 0424;afii10038;CYRILLIC CAPITAL LETTER EF 0425;afii10039;CYRILLIC CAPITAL LETTER HA 0426;afii10040;CYRILLIC CAPITAL LETTER TSE 0427;afii10041;CYRILLIC CAPITAL LETTER CHE 0428;afii10042;CYRILLIC CAPITAL LETTER SHA 0429;afii10043;CYRILLIC CAPITAL LETTER SHCHA 042A;afii10044;CYRILLIC CAPITAL LETTER HARD SIGN 042B;afii10045;CYRILLIC CAPITAL LETTER YERU 042C;afii10046;CYRILLIC CAPITAL LETTER SOFT SIGN 042D;afii10047;CYRILLIC CAPITAL LETTER E 042E;afii10048;CYRILLIC CAPITAL LETTER YU 042F;afii10049;CYRILLIC CAPITAL LETTER YA 0490;afii10050;CYRILLIC CAPITAL LETTER GHE WITH UPTURN 0402;afii10051;CYRILLIC CAPITAL LETTER DJE 0403;afii10052;CYRILLIC CAPITAL LETTER GJE 0404;afii10053;CYRILLIC CAPITAL LETTER UKRAINIAN IE 0405;afii10054;CYRILLIC CAPITAL LETTER DZE 0406;afii10055;CYRILLIC CAPITAL LETTER BYELORUSSIAN-UKRAINIAN I 0407;afii10056;CYRILLIC CAPITAL LETTER YI 0408;afii10057;CYRILLIC CAPITAL LETTER JE 0409;afii10058;CYRILLIC CAPITAL LETTER LJE 040A;afii10059;CYRILLIC CAPITAL LETTER NJE 040B;afii10060;CYRILLIC CAPITAL LETTER TSHE 040C;afii10061;CYRILLIC CAPITAL LETTER KJE 040E;afii10062;CYRILLIC CAPITAL LETTER SHORT U 0430;afii10065;CYRILLIC SMALL LETTER A 0431;afii10066;CYRILLIC SMALL LETTER BE 0432;afii10067;CYRILLIC SMALL LETTER VE 0433;afii10068;CYRILLIC SMALL LETTER GHE 0434;afii10069;CYRILLIC SMALL LETTER DE 0435;afii10070;CYRILLIC SMALL LETTER IE 0451;afii10071;CYRILLIC SMALL LETTER IO 0436;afii10072;CYRILLIC SMALL LETTER ZHE 0437;afii10073;CYRILLIC SMALL LETTER ZE 0438;afii10074;CYRILLIC SMALL LETTER I 0439;afii10075;CYRILLIC SMALL LETTER SHORT I 043A;afii10076;CYRILLIC SMALL LETTER KA 043B;afii10077;CYRILLIC SMALL LETTER EL 043C;afii10078;CYRILLIC SMALL LETTER EM 043D;afii10079;CYRILLIC SMALL LETTER EN 043E;afii10080;CYRILLIC SMALL LETTER O 043F;afii10081;CYRILLIC SMALL LETTER PE 0440;afii10082;CYRILLIC SMALL LETTER ER 0441;afii10083;CYRILLIC SMALL LETTER ES 0442;afii10084;CYRILLIC SMALL LETTER TE 0443;afii10085;CYRILLIC SMALL LETTER U 0444;afii10086;CYRILLIC SMALL LETTER EF 0445;afii10087;CYRILLIC SMALL LETTER HA 0446;afii10088;CYRILLIC SMALL LETTER TSE 0447;afii10089;CYRILLIC SMALL LETTER CHE 0448;afii10090;CYRILLIC SMALL LETTER SHA 0449;afii10091;CYRILLIC SMALL LETTER SHCHA 044A;afii10092;CYRILLIC SMALL LETTER HARD SIGN 044B;afii10093;CYRILLIC SMALL LETTER YERU 044C;afii10094;CYRILLIC SMALL LETTER SOFT SIGN 044D;afii10095;CYRILLIC SMALL LETTER E 044E;afii10096;CYRILLIC SMALL LETTER YU 044F;afii10097;CYRILLIC SMALL LETTER YA 0491;afii10098;CYRILLIC SMALL LETTER GHE WITH UPTURN 0452;afii10099;CYRILLIC SMALL LETTER DJE 0453;afii10100;CYRILLIC SMALL LETTER GJE 0454;afii10101;CYRILLIC SMALL LETTER UKRAINIAN IE 0455;afii10102;CYRILLIC SMALL LETTER DZE 0456;afii10103;CYRILLIC SMALL LETTER BYELORUSSIAN-UKRAINIAN I 0457;afii10104;CYRILLIC SMALL LETTER YI 0458;afii10105;CYRILLIC SMALL LETTER JE 0459;afii10106;CYRILLIC SMALL LETTER LJE 045A;afii10107;CYRILLIC SMALL LETTER NJE 045B;afii10108;CYRILLIC SMALL LETTER TSHE 045C;afii10109;CYRILLIC SMALL LETTER KJE 045E;afii10110;CYRILLIC SMALL LETTER SHORT U 040F;afii10145;CYRILLIC CAPITAL LETTER DZHE 0462;afii10146;CYRILLIC CAPITAL LETTER YAT 0472;afii10147;CYRILLIC CAPITAL LETTER FITA 0474;afii10148;CYRILLIC CAPITAL LETTER IZHITSA 045F;afii10193;CYRILLIC SMALL LETTER DZHE 0463;afii10194;CYRILLIC SMALL LETTER YAT 0473;afii10195;CYRILLIC SMALL LETTER FITA 0475;afii10196;CYRILLIC SMALL LETTER IZHITSA 04D9;afii10846;CYRILLIC SMALL LETTER SCHWA
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Re: What are 'true italics'?
But nowadays, it is used to mean "that sloped stuff used for emphasis", and thus if sloped Hebrew or even sloped Gujarati is used for emphasis, one will push the "I" button to get it (making it a "nominal Italic font" at least)... and thus, at some point, we have to recognize that the current meaning of a word is not the same as its original meaning.All that indicates is that the conventions of word processing software and corresponding font family are Latin-centric. HTML is better in this respect, tagging the use rather than the nominal style, and leaving it up to the style sheet to determine how e.g. emphasis or citation are displayed.
But here you are talking about the one of the roles of italic type — 'for emphasis' —, whereas I was responding to your comment that 'traditional Armenian typeface often appeared either entirely in italics', which was not, as I pointed out, italic in the sense of the roles played by 'italic'. The point is simply this: not everything that is slanted is italic, either in origin or in use.In the case of Cyrillic, it might be noted that the italics included with many typefaces, including Times Roman, are cursive in nature, and thus do derive from Aldus and Arrighi.
Pretty much every writing system in the world has both formal and cursive modes and construction: it's one of the distinctions that emerges in any mature scribal culture. Now, in the case of Cyrillic typefaces there is, thanks to Peter the Great, a direct correspondence between several styles of in Latin and Cyrillic, but the forms of the Cyrillic курсивный are derived from handwriting in Cyrillic script. So 'cursive' Cyrillic types marry local written forms with an imported typographic style — which in the West, traces back to the Italian chancery cursive hand of the latter 15th Century —, such that it makes some sense for English speakers to call Cyrillic cursive types 'italic' in a kind of third cousin twice removed familial sense.2 -
Re: What are 'true italics'?
I don't at all insist that an italic needs to be cursive, although that's certainly a) valid and b) historically the source of italic. The point to me is that italic is a secondary style — not secondary in the sense of subordinate — used for a number of aspects of textual differentiation and articulation. As a secondary style, I would say that the primary characteristic of italic is that it shares a similar weight and texture — and hence spatial frequency — to the roman style, so can be incorporated into blocks of roman text without either drawing the eye or forcing a change in spatial frequency tuning, as using bold as a secondary style would.
So in terms of this characteristic, a sloped roman or an italic are both viable typographic options for a secondary style in the roles that 'italic' performs. But note my terminology: I don't say that a sloped roman is a viable italic, because I consider a sloped roman to be a thing in itself, not an italic. And when I refer to 'italic' with the quote marks, I refer to the typographic roles traditionally taken by italic, not to the style of type fulfilling those roles (remember that on typewriters, those roles were regularly fulfilled by underlining). And when I refer to viable typographic options I mean just that: options in the design and layout of text, in which context sloped roman and italic might not be alternative nominal italics found in different typefaces, but things that are both useful. [Somewhere around here I have an English translation of an Iranian novel set in my early Manticore typeface, which uses both italic and sloped roman — the latter mechanically slanted so suffering some distortions — for different aspects of the text, alongside the primary roman style.]
The use of secondary styles in textual differentiation and articulation isn't limited to Latin or even to European script typography. Lots of text traditions around the world have developed conventional systems of mixed styles, and not all of them differentiate the same kinds of information or use a formal/cursive construction distinction. Notably, though, simply slanting one style to create a secondary style does not seem to have been a common practice anywhere. Why? Because from a design perspective slant is not an after-effect applied to a form, it is part of the making of a form, and it influences other aspects of the form, such as horizontal compression, modulation patterns and axis, etc..3 -
Re: Could we hack into designing a Persian/Arabic braille font?
As I wrote in Kent's comment reply I absolutely know that this is not a professional translation, but as I said in braille (if we don't want to go to the Grade 2) every letter has a substitute and you can basically translate the text by font conversion.
But you can also do it with text search/replace macro, and that will be more robust than a font substitution, and will produce Unicode encoded Braille characters with correct directionality built in.
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Re: What are 'true italics'?
Tom,Well, to be fair, it used to be normal for a sans "italic" to be a slanted roman plus optical corrections. I believe the simple slanted roman per se has never been terribly common, apart from faux italics created by operating systems.In Type 1 days, some fonts that used the PostScript slant operator for italics. I remember when Linotype sent me the Type 1 Helvetica fonts as source materials for Linotype Helvetica (later Helvetica World), I was surprised to open the italic fonts in FontLab and discover the actual glyph outlines were upright.
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On the subject of 'true italics', I don't think italics need cursive letter construction, but I do think they can benefit from employing single-storey a and g, which can of course have non-cursive construction even in upright type, as Futura demonstrates. This hybrid approach seems to me under-utilised.
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