Re: Precomposed Glyphs (was Re: Saudi-Arabian Copyright sign )

[Asmus Freytag]

At 02:14 AM 9/24/2004, Andrew C. West wrote:
And does anyone actually care what size a font is anyway, just as long as it
displays complex characters nicely ?
Amazingly enough, there are still many situations where having a smaller 
footprint
is beneficial.

A./ 

Re: Decode Unicode!

[Curtis Clark]

on 2004-09-24 10:05 Peter Constable did quote:
After the DNA, the ASCII-Code is the most successful code on this
planet. 
Things get more and more complex. DNA is a 2-bit code.
--
Curtis Clark  http://www.csupomona.edu/~jcclark/
Web Coordinator, Cal Poly Pomona +1 909 979 6371
Professor, Biological Sciences   +1 909 869 4062

Re: Precomposed Glyphs (was Re: Saudi-Arabian Copyright sign )

[Peter Kirk]

On 24/09/2004 17:59, Mike Ayers wrote:
...
I should also point out that Peter, like many advocates of 
glyph composition, seems to believe that this would be an easier 
path.  This would probably be true in the end, but along the way is 
much, much more work.  Ironically, part of that work would probably 
include assemblage of the very database of precomposed glyphs that he 
argued against - so that the data for composition of each individual 
composed glyph (deformation, position, magnification, etc.) can be 
generated and checked.  Yes, it would be a monumental achievement, but 
a pretty cool one, all said and done.


I should point out in return that I am not advocating glyph composition 
for CJK-type scripts, but for scripts like Hebrew in which fairly simple 
positioning rules can be used, rules which have already been 
successfully implemented in OpenType fonts like SBL Hebrew.

--
Peter Kirk
[EMAIL PROTECTED] (personal)
[EMAIL PROTECTED] (work)
http://www.qaya.org/

Re: Decode Unicode!

[Michael Everson]

At 10:05 -0700 2004-09-24, Peter Constable wrote:
[I'll try this again -- plain text this time.]
Here's the abstract for one of the presentations at ATypI next week.
Will this be the every-character-has-a-story repository we've always
wished for?
Johannes came and met me in Sutton a few weeks ago. We had a long and 
interesting evening talking about this. It does seem to be such a 
repository -- editable like a Wiki too, perhaps.
--
Michael Everson * * Everson Typography *  * http://www.evertype.com

Re: Unicode and keyboards

[Mark E. Shoulson]

You can use things like U200D (for U+200D ZERO WIDTH JOINER) for Unicode 
chars in xkb files.  Just U and then the 4-digit hex code.  Works for me...

~mark
Stefan Persson wrote:
Hi!
I'd like to add some Runic characters to my Linux keyboard.  All 
characters are in Unicode, but not mentioned anywhere in 
/usr/X11RC/include/X11/keysymdef.h.  How do I access them?  The 
mentioned file contains codes for all characters mentioned in that 
file, such as 0x041 for a capital "A," but most of these codes seem 
not to be based on anything Unicode-related, so I can't guess what 
such codes for the wanted characters would be.

Stefan

Decode Unicode!

[Peter Constable]

[I'll try this again -- plain text this time.]

Here's the abstract for one of the presentations at ATypI next week.
Will this be the every-character-has-a-story repository we've always
wished for?

---

Decode Unicode!

A typographic database

Johannes Bergerhausen

Friday 1 October | 14:15 - 15:00
Location: A-2 (Archa Hall 2)
Presentation | Theme: Typographic Babylon | Duration: 45 minutes

After the DNA, the ASCII-Code is the most successful code on this
planet. The Unicode will even be better. Now is the right time to gather
and explain the meaning, history and correct typographic use of each
Unicode-Caracter. Who invented the full stop? When did the Infinity-Sign
come into being? What's an Ogonek? In an 18-month project in the
department of Design at the University of Applied Sciences in Mainz,
Germany, we are collecting images, samples and texts about each and
every sign in the Code. In the near future, the project will be opened
for anyone to submit their own material. In his lecture, 
Prof. Bergerhausen will give an introduction to code-history from ASCII
to Unicode and will present the project that is supported by the Germany
Federal Ministry of Education and Research.

Speaker details

Johannes Bergerhausen =
  Professor Fachhochschule Mainz | Germany

Prof. Johannes Bergerhausen, born 1965 in Bonn, Germany, studied Visual
Communication at the University of Applied Sciences in Dusseldorf. From
1993 to 2000, he lived and worked in Paris. First he collaborated with
the Founders of Grapus, G=E9rard Paris-Clavel and Pierre Bernard, then
he founded his own office. In 1998 he was awarded a grant from the
French Centre National des Arts Plastiques for a typographic research
project on the ASCII-Code. Lectures in Amiens, Paris, Rotterdam, Warsaw,
Weimar. He returned to Germany in 2000, since 2002 he is Professor of
Typography at the University of Applied Sciences in Mainz. In 2003,
together with Paris-Clavel, he published the font LeBuro at ACME Fonts,
London.

---

RE: Precomposed Glyphs (was Re: Saudi-Arabian Copyright sign )

[Mike Ayers]

Title: RE: Precomposed Glyphs (was Re: Saudi-Arabian Copyright sign )






> From: [EMAIL PROTECTED] 
> [mailto:[EMAIL PROTECTED]] On Behalf Of Andrew C. West


> On Thu, 23 Sep 2004 10:45:53 +0100, Peter Kirk wrote:
> > 
> > If there were such a list, font designers could indeed design 
> > precomposed glyphs for each of the tens of thousands of 
> graphemes on it.
> > But I suspect that they would prefer to specify a 
> programmatic way of 
> > making most of the combinations, except for rather common ones. And 
> > users will prefer this as they won't want huge fonts mostly full of 
> > extremely rare precomposed glyphs.
> 
> They will if they're Tibetan, as using precomposed glyphs is 
> the only solution if you want to produce professional quality 
> Tibetan text display (cf. the recent Unicode Tibetan fonts 
> Ximalaya and Tibetan Machine Uni, which each have many 
> thousands of precomposed Tibetan glyphs).
> 
> And does anyone actually care what size a font is anyway, 
> just as long as it displays complex characters nicely ?


    In most sectors, the answer is "not anymore".  However, the ability to programatically assemble glyphs instead of using precomposed glyphs, assuming that this requires less resources, would be very desireably in embedded consumer applications (organizers, phones, etc.) where cost savings are at a premium.  Some programmatic support already exists, but I think that we are a few generation's worth of research away from, say, the 13 glyph Chinese font.  For the meantime, following the path of precomposed glyphs makes the most sense.

    I should also point out that Peter, like many advocates of glyph composition, seems to believe that this would be an easier path.  This would probably be true in the end, but along the way is much, much more work.  Ironically, part of that work would probably include assemblage of the very database of precomposed glyphs that he argued against - so that the data for composition of each individual composed glyph (deformation, position, magnification, etc.) can be generated and checked.  Yes, it would be a monumental achievement, but a pretty cool one, all said and done.


/|/|ike

Chinese Ethnic Written Language Applies for Intangible World Heritage

[Peter Constable]

I’m sure various people here will find this of interest:

 

http://www.china.org.cn/english/culture/107829.htm

[no subject]

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Here=92s the abstract for one of the presentations at ATypI next week. =
Will this be the every-character-has-a-story repository we=92ve always =
wished for?

=20

Decode Unicode!

A typographic database

Johannes Bergerhausen=20

Friday 1 October | 14:15 =96 15:00
Location: A-2 (Archa Hall 2)
Presentation | Theme: Typographic Babylon | Duration: 45 minutes=20

After the DNA, the ASCII-Code is the most successful code on this =
planet. The Unicode will even be better. Now is the right time to gather =
and explain the meaning, history and correct typographic use of each =
Unicode-Caracter. Who =93invented=94 the full stop? When did the =
Infinity-Sign come into being? What=92s an Ogonek? In an 18-month =
project in the department of Design at the University of Applied =
Sciences in Mainz, Germany, we are collecting images, samples and texts =
about each and every sign in the Code. In the near future, the project =
will be opened for anyone to submit their own material. In his lecture, =
Prof. Bergerhausen will give an introduction to code-history from ASCII =
to Unicode and will present the project that is supported by the Germany =
Federal Ministry of Education and Research.=20

Speaker details

Johannes Bergerhausen =
  Professor Fachhochschule Mainz | Germany

Prof. Johannes Bergerhausen, born 1965 in Bonn, Germany, studied Visual =
Communication at the University of Applied Sciences in D=FCsseldorf. =
>From 1993 to 2000, he lived and worked in Paris. First he collaborated =
with the Founders of Grapus, G=E9rard Paris-Clavel and Pierre Bernard, =
then he founded his own office. In 1998 he was awarded a grant from the =
French Centre National des Arts Plastiques for a typographic research =
project on the ASCII-Code. Lectures in Amiens, Paris, Rotterdam, Warsaw, =
Weimar. He returned to Germany in 2000, since 2002 he is Professor of =
Typography at the University of Applied Sciences in Mainz. In 2003, =
together with Paris-Clavel, he published the font =93LeBuro=94 at ACME =
Fonts, London.

=20


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http://www.w3.org/TR/REC-html40";>






http://www.5iantlavalamp.com/"/>