nouvelle font labeur, edit about
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Slug: about
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Summary: About this website
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> It is always the Year One here. Only the dating of every past and future year changes each New Year’s Day, as one counts backwards or forwards from the unitary Now.
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> "It is always the Year One here. Only the dating of every past and future year changes each New Year’s Day, as one counts backwards or forwards from the unitary Now."
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>Ursula K. Le Guin, *The Left Hand of Darkness*, 1969
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Better days est un recueil d'images, de sons et de textes sur l'urgence. Il a pris forme pendant le confinement lié à la pandémie de Covid-19 en 2020. Voilà les pensées qui l’accompagnent. Elles ne sont ni nécessaires à sa compréhension, ni réductrices de son sens.
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Prévoir, c’est attendre. C’est aussi, de fait, faire une division entre maintenant et plus tard, et par la même occasion, échapper à l’ininterruption des jours. Je passe une grande partie de mon présent à attendre.
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Ces derniers temps m’ont fait ressentir une forme d’urgence. Elle compresse le futur inconnu avec le désemparement du présent, elle met un coup de projecteur sur leur liaison indéniable. Je ne parle pas de l’urgence d’un danger imminent ou d’une pression extérieure. C’est une urgence intérieure, sécurisée, ce qui la rend muette et évitable.
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Prévoir, c’est attendre. C’est aussi, de fait, faire une division entre maintenant et plus tard, et par la même occasion, échapper à l’ininterruption des jours. Je passe une grande partie de mon présent à attendre.
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Ces derniers temps m’ont fait ressentir une forme d’urgence. Elle compresse le futur inconnu avec le désemparement du présent, elle met un coup de projecteur sur leur liaison indéniable. Je ne parle pas de l’urgence d’un danger imminent ou d’une pression extérieure. C’est une urgence intérieure, sécurisée, ce qui la rend muette et évitable.
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Le paradoxe est que cette urgence n’enjoint pas à s’activer, à faire plus de choses, plus vite. Elle rend même cette pulsion assez dérisoire. Elle n’enjoint pas plus à ne rien faire ou à faire les choses lentement. Elle apporte autant d’inquiétude que de sérénité. Il n’y a pas plus de raison d’attendre un futur incertain que des jours meilleurs. Au fond, il n’y a pas beaucoup de raisons d’attendre.
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Website by felicie and theo using [Pelican](https://blog.getpelican.com/) and [Libertinage font](http://osp.kitchen/foundry/libertinage/).
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Site de flemar et theo utilisant [Pelican](https://blog.getpelican.com/)
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Fonts : [Solide Mirage](https://www.velvetyne.fr/fonts/solide-mirage/), [M+](http://mplus-fonts.osdn.jp/)
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Hosted by OVH, managed by theo.
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@ -14,17 +14,18 @@
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</header>
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<div class='content'>
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<blockquote>
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<p>It is always the Year One here. Only the dating of every past and future year changes each New Year’s Day, as one counts backwards or forwards from the unitary Now.
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Ursula K. Le Guin, <em>The Left Hand of Darkness</em>, 1969</p>
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<div class="page-content"><blockquote>
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<p>"It is always the Year One here. Only the dating of every past and future year changes each New Year’s Day, as one counts backwards or forwards from the unitary Now."</p>
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<p>Ursula K. Le Guin, <em>The Left Hand of Darkness</em>, 1969</p>
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</blockquote>
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<p>Better days est un recueil d'images, de sons et de textes sur l'urgence. Il a pris forme pendant le confinement lié à la pandémie de Covid-19 en 2020. Voilà les pensées qui l’accompagnent. Elles ne sont ni nécessaires à sa compréhension, ni réductrices de son sens.</p>
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<p>Prévoir, c’est attendre. C’est aussi, de fait, faire une division entre maintenant et plus tard, et par la même occasion, échapper à l’ininterruption des jours. Je passe une grande partie de mon présent à attendre.
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Ces derniers temps m’ont fait ressentir une forme d’urgence. Elle compresse le futur inconnu avec le désemparement du présent, elle met un coup de projecteur sur leur liaison indéniable. Je ne parle pas de l’urgence d’un danger imminent ou d’une pression extérieure. C’est une urgence intérieure, sécurisée, ce qui la rend muette et évitable.
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<p>Prévoir, c’est attendre. C’est aussi, de fait, faire une division entre maintenant et plus tard, et par la même occasion, échapper à l’ininterruption des jours. Je passe une grande partie de mon présent à attendre.<br>
|
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Ces derniers temps m’ont fait ressentir une forme d’urgence. Elle compresse le futur inconnu avec le désemparement du présent, elle met un coup de projecteur sur leur liaison indéniable. Je ne parle pas de l’urgence d’un danger imminent ou d’une pression extérieure. C’est une urgence intérieure, sécurisée, ce qui la rend muette et évitable.<br>
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Le paradoxe est que cette urgence n’enjoint pas à s’activer, à faire plus de choses, plus vite. Elle rend même cette pulsion assez dérisoire. Elle n’enjoint pas plus à ne rien faire ou à faire les choses lentement. Elle apporte autant d’inquiétude que de sérénité. Il n’y a pas plus de raison d’attendre un futur incertain que des jours meilleurs. Au fond, il n’y a pas beaucoup de raisons d’attendre.</p>
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<p>Website by felicie and theo using <a href="https://blog.getpelican.com/">Pelican</a> and <a href="http://osp.kitchen/foundry/libertinage/">Libertinage font</a>.</p>
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<p>Site de flemar et theo utilisant <a href="https://blog.getpelican.com/">Pelican</a><br>
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Fonts : <a href="https://www.velvetyne.fr/fonts/solide-mirage/">Solide Mirage</a>, <a href="http://mplus-fonts.osdn.jp/">M+</a></p>
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<p>Hosted by OVH, managed by theo.</p>
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<p>For information about this website : contact [ at ] theo-lem.org.</p>
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<p>For information about this website : contact [ at ] theo-lem.org.</p></div>
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</div>
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</body>
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@ -14,7 +14,7 @@
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</header>
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<div class='content'>
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<p>You can download all the content of this website <a href="/betterdays.zip">here</a>.</p>
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<div class="page-content"><p>You can download all the content of this website <a href="/betterdays.zip">here</a>.</p></div>
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</div>
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</body>
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BIN
output/theme/css/fonts/.DS_Store
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output/theme/css/fonts/alfabet-master/.gitignore
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output/theme/css/fonts/alfabet-master/.gitignore
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.DS_Store
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55
output/theme/css/fonts/alfabet-master/FONTLOG.txt
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output/theme/css/fonts/alfabet-master/FONTLOG.txt
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FONTLOG for Alfphabet
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-------------------
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This file provides detailed information on the Alfphabet font software.
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This information should be distributed along with the Alfphabet fonts
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and any derivative works.
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Basic Font Information
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--------------------------
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Copyright 1992-2014 Hammerfonts and OSP (http://osp.kitchen)
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The Alfphabet family is based on the Belgian road signage called 'Alphabet' in French and 'Alfabet' in Flemish. It was introduced in 1945 by 3M system working for the Marshall plan after the end of the war. In 1975, it was replaced by the Swiss SNV fonts, but is still in used randomly by the Belgian railroad and Charleroi's metro. In the early nineties, Pierre Huyghebaert was able to copy the original plates just before the split of the national office of the roads 'Fond des Routes' in three regional entities and the burial of the documents deep into regional archives.
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Alfphabet Condensed is a rough merge between Alfphabet II (condensed caps only) and Alfphabet III (semi-condensed lowercase only!). It was redrawn in various occasions by Karl Bassil and Pierre under Hammerfonts umbrella in Brussels, then completed at Mind the gap studio in Beirut by Karl with the help of Nadim Zablit in the late nineties. The contrast between uppercase and lowercase is still quite non-typographic, and lot's of diacritics need improvement.
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Alfphabet IV was redrawn by Pierre Huyghebaert and Ludi at Speculoos studio in 2007.
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Alfphabet Condensed currently provides the following Unicode coverage:
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Basic Latin: 95/95
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Latin-1 Supplement: 95/96
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Latin extended A: 3/128
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Alfphabet IV currently provides the following Unicode coverage:
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Basic Latin: 95/95
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Latin-1 Supplement: 60/96
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Information for Contributors
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------------------------------
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Copyright 1992-2014 Hammerfonts and OSP (Karl Bassil, Nadim Zablit, Pierre Huyghebaert, Ludivine Loiseau).
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This Font Software is licensed under the SIL Open Font License, Version 1.1.
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You should have received a copy of the license along with this Font Software (either in stand-alone text files, human-readable headers or in the appropriate machine-readable metadata fields within text or binary files).
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See the project website for the current trunk and the various branches:
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http://ospublish.constantvzw.org/foundry/alfphabet
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ChangeLog
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----------
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Acknowledgements
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-------------------------
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If you make modifications be sure to add your name (N), email (E), web-address
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(W) and description (D). This list is sorted by last name in alphabetical
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order.)
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N: Karl Bassil
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N: Nadim Zablit
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N: Ludivine Loiseau
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W: http://ospublish.constantvzw.org
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N: Pierre Huyghebaert,
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E: pierre@speculoos.com
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W: http://ospublish.constantvzw.org
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225
output/theme/css/fonts/alfabet-master/LICENSE-FAQ.txt
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OFL FAQ - Frequently Asked Questions about the SIL Open Font License (OFL)
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Version 1.1 - 26 February 2007
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(See http://scripts.sil.org/OFL for updates)
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1 ABOUT USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL
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1.1 Can I use the fonts in any publication, even embedded in the file?
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Yes. You may use them like most other fonts, but unlike some fonts you may include an embedded subset of the fonts in your document. Such use does not require you to include this license or other files (listed in OFL condition 2), nor does it require any type of acknowledgement within the publication. Some mention of the font name within the publication information (such as in a colophon) is usually appreciated. If you wish to include the complete font as a separate file, you should distribute the full font package, including all existing acknowledgements, and comply with the OFL conditions. Of course, referencing or embedding an OFL font in any document does not change the license of the document itself. The requirement for fonts to remain under the OFL does not apply to any document created using the fonts and their derivatives. Similarly, creating any kind of graphic using a font under OFL does not make the resulting artwork subject to the OFL.
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1.2 Can I make web pages using these fonts?
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Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended.
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1.3 Can I make the fonts available to others from my web site?
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Yes, as long as you meet the conditions of the license (do not sell by itself, include the necessary files, rename Modified Versions, do not abuse the Author(s)' name(s) and do not sublicense).
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1.4 Can the fonts be included with Free/Libre and Open Source Software collections such as GNU/Linux and BSD distributions?
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Yes! Fonts licensed under the OFL can be freely aggregated with software under FLOSS (Free/Libre and Open Source Software) licenses. Since fonts are much more useful aggregated to than merged with existing software, possible incompatibility with existing software licenses is not a problem. You can also repackage the fonts and the accompanying components in a .rpm or .deb package and include them in distro CD/DVDs and online repositories.
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1.5 I want to distribute the fonts with my program. Does this mean my program also has to be free and open source software?
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No. Only the portions based on the font software are required to be released under the OFL. The intent of the license is to allow aggregation or bundling with software under restricted licensing as well.
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1.6 Can I include the fonts on a CD of freeware or commercial fonts?
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Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself.
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1.7 Can I sell a software package that includes these fonts?
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Yes, you can do this with both the Original Version and a Modified Version. Examples of bundling made possible by the OFL would include: word processors, design and publishing applications, training and educational software, edutainment software, etc.
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1.8 Why won't the OFL let me sell the fonts alone?
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The intent is to keep people from making money by simply redistributing the fonts. The only people who ought to profit directly from the fonts should be the original authors, and those authors have kindly given up potential direct income to distribute their fonts under the OFL. Please honor and respect their contribution!
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1.9 I've come across a font released under the OFL. How can I easily get more information about the Original Version? How can I know where it stands compared to the Original Version or other Modified Versions?
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Consult the copyright statement(s) in the license for ways to contact the original authors. Consult the FONTLOG for information on how the font differs from the Original Version, and get in touch with the various contributors via the information in the acknowledgment section. Please consider using the Original Versions of the fonts whenever possible.
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1.10 What do you mean in condition 4? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement?
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The intent is that the goodwill and reputation of the author(s) should not be used in a way that makes it sound like the original author(s) endorse or approve of a specific Modified Version or software bundle. For example, it would not be right to advertise a word processor by naming the author(s) in a listing of software features, or to promote a Modified Version on a web site by saying "designed by ...". However, it would be appropriate to acknowledge the author(s) if your software package has a list of people who deserve thanks. We realize that this can seem to be a gray area, but the standard used to judge an acknowledgement is that if the acknowledgement benefits the author(s) it is allowed, but if it primarily benefits other parties, or could reflect poorly on the author(s), then it is not.
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2 ABOUT MODIFYING OFL LICENSED FONTS
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2.1 Can I change the fonts? Are there any limitations to what things I can and cannot change?
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You are allowed to change anything, as long as such changes do not violate the terms of the license. In other words, you are not allowed to remove the copyright statement(s) from the font, but you could add additional information into it that covers your contribution.
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2.2 I have a font that needs a few extra glyphs - can I take them from an OFL licensed font and copy them into mine?
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Yes, but if you distribute that font to others it must be under the OFL, and include the information mentioned in condition 2 of the license.
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2.3 Can I charge people for my additional work? In other words, if I add a bunch of special glyphs and/or OpenType/Graphite code, can I sell the enhanced font?
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Not by itself. Derivative fonts must be released under the OFL and cannot be sold by themselves. It is permitted, however, to include them in a larger software package (such as text editors, office suites or operating systems), even if the larger package is sold. In that case, you are strongly encouraged, but not required, to also make that derived font easily and freely available outside of the larger package.
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2.4 Can I pay someone to enhance the fonts for my use and distribution?
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Yes. This is a good way to fund the further development of the fonts. Keep in mind, however, that if the font is distributed to others it must be under the OFL. You won't be able to recover your investment by exclusively selling the font, but you will be making a valuable contribution to the community. Please remember how you have benefitted from the contributions of others.
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2.5 I need to make substantial revisions to the font to make it work with my program. It will be a lot of work, and a big investment, and I want to be sure that it can only be distributed with my program. Can I restrict its use?
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No. If you redistribute a Modified Version of the font it must be under the OFL. You may not restrict it in any way. This is intended to ensure that all released improvements to the fonts become available to everyone. But you will likely get an edge over competitors by being the first to distribute a bundle with the enhancements. Again, please remember how you have benefitted from the contributions of others.
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2.6 Do I have to make any derivative fonts (including source files, build scripts, documentation, etc.) publicly available?
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No, but please do share your improvements with others. You may find that you receive more than what you gave in return.
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2.7 Why can't I use the Reserved Font Name(s) in my derivative font names? I'd like people to know where the design came from.
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The best way to acknowledge the source of the design is to thank the original authors and any other contributors in the files that are distributed with your revised font (although no acknowledgement is required). The FONTLOG is a natural place to do this. Reserved Font Name(s) ensure that the only fonts that have the original names are the unmodified Original Versions. This allows designers to maintain artistic integrity while allowing collaboration to happen. It eliminates potential confusion and name conflicts. When choosing a name be creative and avoid names that reuse almost all the same letters in the same order or sound like the original. Keep in mind that the Copyright Holder(s) can allow a specific trusted partner to use Reserved Font Name(s) through a separate written agreement.
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2.8 What do you mean by "primary name as presented to the user"? Are you referring to the font menu name?
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Yes, the requirement to change the visible name used to differentiate the font from others applies to the font menu name and other mechanisms to specify a font in a document. It would be fine, for example, to keep a text reference to the original fonts in the description field, in your modified source file or in documentation provided alongside your derivative as long as no one could be confused that your modified source is the original. But you cannot use the Reserved Font Names in any way to identify the font to the user (unless the Copyright Holder(s) allow(s) it through a separate agreement; see section 2.7). Users who install derivatives ("Modified Versions") on their systems should not see any of the original names ("Reserved Font Names") in their font menus, for example. Again, this is to ensure that users are not confused and do not mistake a font for another and so expect features only another derivative or the Original Version can actually offer. Ultimately, creating name conflicts will cause many problems for the users as well as for the designer of both the Original and Modified versions, so please think ahead and find a good name for your own derivative. Font substitution systems like fontconfig, or application-level font fallback configuration within OpenOffice.org or Scribus, will also get very confused if the name of the font they are configured to substitute to actually refers to another physical font on the user's hard drive. It will help everyone if Original Versions and Modified Versions can easily be distinguished from one another and from other derivatives. The substitution mechanism itself is outside the scope of the license. Users can always manually change a font reference in a document or set up some kind of substitution at a higher level but at the lower level the fonts themselves have to respect the Reserved Font Name(s) requirement to prevent ambiguity. If a substitution is currently active the user should be aware of it.
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2.9 Am I not allowed to use any part of the Reserved Font Names?
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You may not use the words of the font names, but you would be allowed to use parts of words, as long as you do not use any word from the Reserved Font Names entirely. We do not recommend using parts of words because of potential confusion, but it is allowed. For example, if "Foobar" was a Reserved Font Name, you would be allowed to use "Foo" or "bar", although we would not recommend it. Such an unfortunate choice would confuse the users of your fonts as well as make it harder for other designers to contribute.
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2.10 So what should I, as an author, identify as Reserved Font Names?
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Original authors are encouraged to name their fonts using clear, distinct names, and only declare the unique parts of the name as Reserved Font Names. For example, the author of a font called "Foobar Sans" would declare "Foobar" as a Reserved Font Name, but not "Sans", as that is a common typographical term, and may be a useful word to use in a derivative font name. Reserved Font Names should also be single words. A font called "Flowing River" should have Reserved Font Names "Flowing" and "River", not "Flowing River".
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2.11 Do I, as an author, have to identify any Reserved Font Names?
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No, but we strongly encourage you to do so. This is to avoid confusion between your work and Modified versions. You may, however, give certain trusted parties the right to use any of your Reserved Font Names through separate written agreements. For example, even if "Foobar" is a RFN, you could write up an agreement to give company "XYZ" the right to distribute a modified version with a name that includes "Foobar". This allows for freedom without confusion.
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2.12 Are any names (such as the main font name) reserved by default?
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No. That is a change to the license as of version 1.1. If you want any names to be Reserved Font Names, they must be specified after the copyright statement(s).
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2.13 What is this FONTLOG thing exactly?
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It has three purposes: 1) to provide basic information on the font to users and other developers, 2) to document changes that have been made to the font or accompanying files, either by the original authors or others, and 3) to provide a place to acknowledge the authors and other contributors. Please use it! See below for details on how changes should be noted.
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2.14 Am I required to update the FONTLOG?
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No, but users, designers and other developers might get very frustrated at you if you don't! People need to know how derivative fonts differ from the original, and how to take advantage of the changes, or build on them.
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3 ABOUT THE FONTLOG
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The FONTLOG can take a variety of formats, but should include these four sections:
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3.1 FONTLOG for <FontFamilyName>
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This file provides detailed information on the <FontFamilyName> font software. This information should be distributed along with the <FontFamilyName> fonts and any derivative works.
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3.2 Basic Font Information
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(Here is where you would describe the purpose and brief specifications for the font project, and where users can find more detailed documentation. It can also include references to how changes can be contributed back to the Original Version. You may also wish to include a short guide to the design, or a reference to such a document.)
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3.3 ChangeLog
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(This should list both major and minor changes, most recent first. Here are some examples:)
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7 February 2007 (Pat Johnson) <NewFontFamilyName> Version 1.3
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- Added Greek and Cyrillic glyphs
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- Released as "<NewFontFamilyName>"
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7 March 2006 (Fred Foobar) <NewFontFamilyName> Version 1.2
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- Tweaked contextual behaviours
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- Released as "<NewFontFamilyName>"
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1 Feb 2005 (Jane Doe) <NewFontFamilyName> Version 1.1
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- Improved build script performance and verbosity
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- Extended the smart code documentation
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- Corrected minor typos in the documentation
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- Fixed position of combining inverted breve below (U+032F)
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- Added OpenType/Graphite smart code for Armenian
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- Added Armenian glyphs (U+0531 -> U+0587)
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- Released as "<NewFontFamilyName>"
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1 Jan 2005 (Joe Smith) <FontFamilyName> Version 1.0
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- Initial release of font "<FontFamilyName>"
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3.4 Acknowledgements
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(Here is where contributors can be acknowledged.
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If you make modifications be sure to add your name (N), email (E), web-address (W) and description (D). This list is sorted by last name in alphabetical order.)
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N: Jane Doe
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E: jane@university.edu
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W: http://art.university.edu/projects/fonts
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D: Contributor - Armenian glyphs and code
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N: Fred Foobar
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E: fred@foobar.org
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W: http://foobar.org
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D: Contributor - misc Graphite fixes
|
||||
|
||||
N: Pat Johnson
|
||||
E: pat@fontstudio.org
|
||||
W: http://pat.fontstudio.org
|
||||
D: Designer - Greek & Cyrillic glyphs based on Roman design
|
||||
|
||||
N: Tom Parker
|
||||
E: tom@company.com
|
||||
W: http://www.company.com/tom/projects/fonts
|
||||
D: Engineer - original smart font code
|
||||
|
||||
N: Joe Smith
|
||||
E: joe@fontstudio.org
|
||||
W: http://joe.fontstudio.org
|
||||
D: Designer - original Roman glyphs
|
||||
|
||||
(Original authors can also include information here about their organization.)
|
||||
|
||||
|
||||
4 ABOUT MAKING CONTRIBUTIONS
|
||||
|
||||
4.1 Why should I contribute my changes back to the original authors?
|
||||
It would benefit many people if you contributed back to what you've received. Providing your contributions and improvements to the fonts and other components (data files, source code, build scripts, documentation, etc.) could be a tremendous help and would encourage others to contribute as well and 'give back', which means you will have an opportunity to benefit from other people's contributions as well. Sometimes maintaining your own separate version takes more effort than merging back with the original. Be aware that any contributions, however, must be either your own original creation or work that you own, and you may be asked to affirm that clearly when you contribute.
|
||||
|
||||
4.2 I've made some very nice improvements to the font, will you consider adopting them and putting them into future Original Versions?
|
||||
Most authors would be very happy to receive such contributions. Keep in mind that it is unlikely that they would want to incorporate major changes that would require additional work on their end. Any contributions would likely need to be made for all the fonts in a family and match the overall design and style. Authors are encouraged to include a guide to the design with the fonts. It would also help to have contributions submitted as patches or clearly marked changes (the use of smart source revision control systems like subversion, svk or bzr is a good idea). Examples of useful contributions are bug fixes, additional glyphs, stylistic alternates (and the smart font code to access them) or improved hinting.
|
||||
|
||||
4.3 How can I financially support the development of OFL fonts?
|
||||
It is likely that most authors of OFL fonts would accept financial contributions - contact them for instructions on how to do this. Such contributions would support future development. You can also pay for others to enhance the fonts and contribute the results back to the original authors for inclusion in the Original Version.
|
||||
|
||||
|
||||
5 ABOUT THE LICENSE
|
||||
|
||||
5.1 I see that this is version 1.1 of the license. Will there be later changes?
|
||||
Version 1.1 is the first minor revision of the OFL. We are confident that version 1.1 will meet most needs, but are open to future improvements. Any revisions would be for future font releases, and previously existing licenses would remain in effect. No retroactive changes are possible, although the Copyright Holder(s) can re-release the font under a revised OFL. All versions will be available on our web site: http://scripts.sil.org/OFL.
|
||||
|
||||
5.2 Can I use the SIL Open Font License for my own fonts?
|
||||
Yes! We heartily encourage anyone to use the OFL to distribute their own original fonts. It is a carefully constructed license that allows great freedom along with enough artistic integrity protection for the work of the authors as well as clear rules for other contributors and those who redistribute the fonts. Some additional information about using the OFL is included at the end of this FAQ.
|
||||
|
||||
5.3 Does this license restrict the rights of the Copyright Holder(s)?
|
||||
No. The Copyright Holder(s) still retain(s) all the rights to their creation; they are only releasing a portion of it for use in a specific way. For example, the Copyright Holder(s) may choose to release a 'basic' version of their font under the OFL, but sell a restricted 'enhanced' version. Only the Copyright Holder(s) can do this.
|
||||
|
||||
5.4 Is the OFL a contract or a license?
|
||||
The OFL is a license and not a contract and so does not require you to sign it to have legal validity. By using, modifying and redistributing components under the OFL you indicate that you accept the license.
|
||||
|
||||
5.5 How about translating the license and the FAQ into other languages?
|
||||
SIL certainly recognises the need for people who are not familiar with English to be able to understand the OFL and this FAQ better in their own language. Making the license very clear and readable is a key goal of the OFL.
|
||||
|
||||
If you are an experienced translator, you are very welcome to help by translating the OFL and its FAQ so that designers and users in your language community can understand the license better. But only the original English version of the license has legal value and has been approved by the community. Translations do not count as legal substitutes and should only serve as a way to explain the original license. SIL - as the author and steward of the license for the community at large - does not approve any translation of the OFL as legally valid because even small translation ambiguities could be abused and create problems.
|
||||
|
||||
We give permission to publish unofficial translations into other languages provided that they comply with the following guidelines:
|
||||
|
||||
- put the following disclaimer in both English and the target language stating clearly that the translation is unofficial:
|
||||
|
||||
"This is an unofficial translation of the SIL Open Font License into $language. It was not published by SIL International, and does not legally state the distribution terms for fonts that use the OFL. A release under the OFL is only valid when using the original English text.
|
||||
|
||||
However, we recognize that this unofficial translation will help users and designers not familiar with English to understand the SIL OFL better and make it easier to use and release font families under this collaborative font design model. We encourage designers who consider releasing their creation under the OFL to read the FAQ in their own language if it is available.
|
||||
|
||||
Please go to http://scripts.sil.org/OFL for the official version of the license and the accompanying FAQ."
|
||||
|
||||
- keep your unofficial translation current and update it at our request if needed, for example if there is any ambiguity which could lead to confusion.
|
||||
|
||||
If you start such a unofficial translation effort of the OFL and its accompanying FAQ please let us know, thank you.
|
||||
|
||||
|
||||
6 ABOUT SIL INTERNATIONAL
|
||||
|
||||
6.1 Who is SIL International and what does it do?
|
||||
SIL International is a worldwide faith-based education and development organization (NGO) that studies, documents, and assists in developing the world's lesser-known languages through literacy, linguistics, translation, and other academic disciplines. SIL makes its services available to all without regard to religious belief, political ideology, gender, race, or ethnic background. SIL's members and volunteers share a Christian commitment.
|
||||
|
||||
6.2 What does this have to do with font licensing?
|
||||
The ability to read, write, type and publish in one's own language is one of the most critical needs for millions of people around the world. This requires fonts that are widely available and support lesser-known languages. SIL develops - and encourages others to develop - a complete stack of writing systems implementation components available under open licenses. This open stack includes input methods, smart fonts, smart rendering libraries and smart applications. There has been a need for a common open license that is specifically applicable to fonts and related software (a crucial component of this stack) so SIL developed the SIL Open Font License with the help of the FLOSS community.
|
||||
|
||||
6.3 How can I contact SIL?
|
||||
Our main web site is: http://www.sil.org/
|
||||
Our site about complex scripts is: http://scripts.sil.org/
|
||||
Information about this license (including contact email information) is at: http://scripts.sil.org/OFL
|
||||
|
||||
|
||||
7 ABOUT USING THE OFL FOR YOUR ORIGINAL FONTS
|
||||
|
||||
If you want to release your fonts under the OFL, you only need to do the following:
|
||||
|
||||
7.1 Put your copyright and reserved font names information in the beginning of the main OFL file.
|
||||
7.2 Put your copyright and the OFL references in your various font files (such as in the copyright, license and description fields) and in your other components (build scripts, glyph databases, documentation, rendering samples, etc).
|
||||
7.3 Write an initial FONTLOG for your font and include it in the release package.
|
||||
7.4 Include the OFL in your release package.
|
||||
7.5 We also highly recommend you include the relevant practical documentation on the license by putting the OFL-FAQ in your package.
|
||||
7.6 If you wish, you can use the OFL Graphics on your web page.
|
||||
|
||||
|
||||
|
||||
That's all. If you have any more questions please get in touch with us.
|
||||
|
||||
|
||||
95
output/theme/css/fonts/alfabet-master/LICENSE.txt
Executable file
95
output/theme/css/fonts/alfabet-master/LICENSE.txt
Executable file
@ -0,0 +1,95 @@
|
||||
This file is part of Alfphabet-IV and is for description.
|
||||
|
||||
Copyright (C) 2007-2010 OSP (Pierre Huyghebaert and Ludivine Loiseau).
|
||||
|
||||
This Font Software is licensed under the SIL Open Font License, Version 1.1.
|
||||
This license is copied below, and is also available with a FAQ at:
|
||||
http://scripts.sil.org/OFL
|
||||
|
||||
|
||||
-----------------------------------------------------------
|
||||
SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007
|
||||
-----------------------------------------------------------
|
||||
|
||||
PREAMBLE
|
||||
The goals of the Open Font License (OFL) are to stimulate worldwide
|
||||
development of collaborative font projects, to support the font creation
|
||||
efforts of academic and linguistic communities, and to provide a free and
|
||||
open framework in which fonts may be shared and improved in partnership
|
||||
with others.
|
||||
|
||||
The OFL allows the licensed fonts to be used, studied, modified and
|
||||
redistributed freely as long as they are not sold by themselves. The
|
||||
fonts, including any derivative works, can be bundled, embedded,
|
||||
redistributed and/or sold with any software provided that any reserved
|
||||
names are not used by derivative works. The fonts and derivatives,
|
||||
however, cannot be released under any other type of license. The
|
||||
requirement for fonts to remain under this license does not apply
|
||||
to any document created using the fonts or their derivatives.
|
||||
|
||||
DEFINITIONS
|
||||
"Font Software" refers to the set of files released by the Copyright
|
||||
Holder(s) under this license and clearly marked as such. This may
|
||||
include source files, build scripts and documentation.
|
||||
|
||||
"Reserved Font Name" refers to any names specified as such after the
|
||||
copyright statement(s).
|
||||
|
||||
"Original Version" refers to the collection of Font Software components as
|
||||
distributed by the Copyright Holder(s).
|
||||
|
||||
"Modified Version" refers to any derivative made by adding to, deleting,
|
||||
or substituting -- in part or in whole -- any of the components of the
|
||||
Original Version, by changing formats or by porting the Font Software to a
|
||||
new environment.
|
||||
|
||||
"Author" refers to any designer, engineer, programmer, technical
|
||||
writer or other person who contributed to the Font Software.
|
||||
|
||||
PERMISSION & CONDITIONS
|
||||
Permission is hereby granted, free of charge, to any person obtaining
|
||||
a copy of the Font Software, to use, study, copy, merge, embed, modify,
|
||||
redistribute, and sell modified and unmodified copies of the Font
|
||||
Software, subject to the following conditions:
|
||||
|
||||
1) Neither the Font Software nor any of its individual components,
|
||||
in Original or Modified Versions, may be sold by itself.
|
||||
|
||||
2) Original or Modified Versions of the Font Software may be bundled,
|
||||
redistributed and/or sold with any software, provided that each copy
|
||||
contains the above copyright notice and this license. These can be
|
||||
included either as stand-alone text files, human-readable headers or
|
||||
in the appropriate machine-readable metadata fields within text or
|
||||
binary files as long as those fields can be easily viewed by the user.
|
||||
|
||||
3) No Modified Version of the Font Software may use the Reserved Font
|
||||
Name(s) unless explicit written permission is granted by the corresponding
|
||||
Copyright Holder. This restriction only applies to the primary font name as
|
||||
presented to the users.
|
||||
|
||||
4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font
|
||||
Software shall not be used to promote, endorse or advertise any
|
||||
Modified Version, except to acknowledge the contribution(s) of the
|
||||
Copyright Holder(s) and the Author(s) or with their explicit written
|
||||
permission.
|
||||
|
||||
5) The Font Software, modified or unmodified, in part or in whole,
|
||||
must be distributed entirely under this license, and must not be
|
||||
distributed under any other license. The requirement for fonts to
|
||||
remain under this license does not apply to any document created
|
||||
using the Font Software.
|
||||
|
||||
TERMINATION
|
||||
This license becomes null and void if any of the above conditions are
|
||||
not met.
|
||||
|
||||
DISCLAIMER
|
||||
THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
|
||||
EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF
|
||||
MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT
|
||||
OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE
|
||||
COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,
|
||||
INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL
|
||||
DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING
|
||||
FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM
|
||||
OTHER DEALINGS IN THE FONT SOFTWARE.
|
||||
126
output/theme/css/fonts/alfabet-master/README.md
Executable file
126
output/theme/css/fonts/alfabet-master/README.md
Executable file
@ -0,0 +1,126 @@
|
||||
|
||||
|
||||
|
||||
|
||||
The Alfphabet family is based on the Belgian road signage lettering called ‘Alphabet’ in French and ‘Alfabet’ in Dutch.
|
||||
|
||||
Direct links to download the fonts:
|
||||
[Alfphabet-I.otf (regular)](http://osp.kitchen/api/osp.foundry.alfphabet/cd8588e52342be5f543db07571e5e327d7d26ad4/blob-data/Alfphabet-I.otf)
|
||||
[Alfphabet-III.otf (condensed)](http://osp.kitchen/api/osp.foundry.alfphabet/78cab074aa56a4e3f7c7d0b10aaf6cd14dca9fad/blob-data/Alfphabet-III.otf)
|
||||
[Alfphabet-IV.otf (extended)](http://osp.kitchen/api/osp.foundry.alfphabet/53301035a44a724592c06018a5d5cfb59eee6fd8/blob-data/Alfphabet-IV.otf)
|
||||
|
||||
### Historical background
|
||||
|
||||
It seems that the lettering systeme is introduced in 1945 by 3M system working for the Marshall plan after the end of the war. In 1975, it is replaced by the Swiss SNV fonts, but is in 2018 still in used randomly by the Belgian railroad and Charleroi’s metro. In the early nineties, Pierre Huyghebaert is able to copy the original plates just before the split of the national office of the roads ‘Fond des Routes’ in three regional entities and the burial of the documents deep into regional archives.
|
||||
|
||||
Alfphabet III (condensed) is in fact a rough merge between Alfphabet II (condensed caps only) and Alfphabet III (semi-condensed lowercase only!). It is redrawn in various occasions by Karl Bassil and Pierre under Hammerfonts umbrella in Brussels at mid-nineties, then completed at Mind the gap studio in Beirut by Karl with the help of Nadim Zablit in the late nineties. The contrast between uppercase and lowercase is still quite non-typographic, and lots of diacritics need improvement.
|
||||
|
||||
Alfphabet IV is redrawn by Pierre and Ludi Loiseau at Speculoos studio in 2007.
|
||||
|
||||
At the time of the writing of this documentation, we do not remember precisely when Alfphabet I was drawn.
|
||||
|
||||
### Article en français dans le magazine Médor
|
||||
|
||||
**Une police du royaume**
|
||||
Dans la rubrique "Trait belge, nos territoires graphiques"
|
||||
Pierre Huyghebaert - Médor N°1, Hiver 2015-2016
|
||||
|
||||
Dans ses pages, Médor profite d’un second souffle de la police Alfphabet. Ce caractère typographique belge des années 1940, encore vaguement utilisé par la SNCB, tend à disparaître.
|
||||
|
||||
À la fin des années 1940, le plan Marshall amène dans ses valises quelques contrats de signalétique routière pour la firme 3M et ses films réfléchissants. Le caractère typographique standard des panneaux routiers est baptisé, avec beaucoup d’inspiration administrative, «Alfabet» en néérlandais et «Alphabet» en français.
|
||||
|
||||
Vers 1970, l’augmentation de la vitesse sur les routes demande une plus grande lisibilité des panneaux routiers. Le graphiste barbu Michel Olyff et des scientifiques de l’université de Louvain développent alors un système typographique alternatif plus en phase avec les goûts et les besoins de l’époque (publié dans Infordesign, magazine du Design Center, 1970). Mais, bardaf, le prix qu’ils demandent (800000 francs belges de l’époque) dépasse de loin l’ambition du fonctionnaire responsable. Il opte derechef pour la police routière suisse, la SNV, gratuite, elle!
|
||||
|
||||
Trente ans plus tard, l’Alfphabet indique toujours l’entrée en gare de Bruxelles-Nord, la direction de Jandrain-Jandrenouille ou quelque déviation/wegomlegging. La SNCB, qui a continué benoîtement à l’utiliser jusqu’à présent, commence à l’abandonner, au hasard des rénovations et au profit d’internationales polices bien lisses ou de copies bien nazes.
|
||||
|
||||
(Médor utilise parmi d’autres fontes libres une version de l’Alfphabet redessinée à Beyrouth et à Bruxelles depuis la fin des années nonante. Elle est disponible avec plus d’informations, comme le reste de la typographie de ce numéro, sur [medor.coop/fontes](http://medor.coop/fontes))
|
||||
|
||||
### Backstage
|
||||
|
||||
> *2011/9/17 Benoit Brunel* <<del datetime="2011-10-02T08:32:41+00:00">xxx</del>@gmail.com>:
|
||||
> Justement ça concerne l’article, j’ai besoin de quelques informations
|
||||
> et je sais que tu as les réponses.
|
||||
> Tu me disais que Michel Olive avait proposé un système de fonts pour…
|
||||
> la SNCB ou la STIB ?
|
||||
> Pour les deux, quel est le système en place? D’où vient-il? Belge?
|
||||
>
|
||||
>>*2011/10/2 Pierre Huyghebaert* <<del datetime="2011-10-02T08:32:41+00:00">xxx</del>@speculoos.com>
|
||||
>>Michel Olyff a répondu à un appel de ce qui s’appelait le fond des routes, national, vers 1975.
|
||||
>>Ils utilisaient jusque là des caractères que les planches appellaient Alfabet ou Alphabet selon la langue.
|
||||
>>Il y avait le type I, II, III, IV et V soit des chasses différentes en majuscules et une “police” juste pour les minuscules!
|
||||
>>Son nouveau système signalétique une fois au point, très moderniste type Frutiger, il a fait produire une étude comparative de lisibilité, sur un mode scientifique typique des années 70.
|
||||
>>Mais le fonctionnaire cadre en poste à l’époque, que j’ai rencontré à la fin de sa carrière et juste après le démantèlement régional de son institution fin des années 90, m’a expliqué avoir reculé devant le prix demandé par Olyff, pourtant raisonnable : 800000 francs belges soit 20000 euros, qui à l’époque devait bien valoir le double. Il a décidé d’opter pour la SNV suisse, gratuite…
|
||||
>>La SNCB continue parfois a utiliser l’Alfphabet, vaille que vaille, dans des versions très mal vectorisées, et mélangées au pire, type Arial.
|
||||
>>La STIB l’a aussi utilisé mais a depuis longtemps varié ses choix, largement vers l’Helvetica dans la métro, et depuis quelques années avec son changement d’identité, une fonte custom humanistique à la hollandaise.
|
||||
|
||||
## Content of the directory
|
||||
|
||||
- Type-I (Actually Type-I uppercase with Type-V lowercase)
|
||||
- UFO & OTF files
|
||||
- SFD working file
|
||||
- Type-III (Actually Type-III uppercase with Type-V readapted-lowercase)
|
||||
- UFO & OTF files
|
||||
- SFD working file
|
||||
- Type-IV (Type-IV is uppercase only)
|
||||
- UFO & OTF files
|
||||
- SFD working file
|
||||
|
||||
- Fontlog
|
||||
|
||||
- OFL Licence + FAQ
|
||||
|
||||
## Known issues and future developments
|
||||
|
||||
- Diacritics need improvement
|
||||
|
||||
- Contrast between uppercase and lowercase (Type-I/III) is still quite non-typographic
|
||||
|
||||
## Coverage
|
||||
|
||||
- Alfphabet I currently provides the following Unicode coverage:
|
||||
- Basic Latin: 93/95
|
||||
- Latin-1 Supplement: 66/96
|
||||
- Latin extended A: 4/128
|
||||
|
||||
- Alfphabet III currently provides the following Unicode coverage:
|
||||
- Basic Latin: 95/95
|
||||
- Latin-1 Supplement: 95/96
|
||||
- Latin extended A: 3/128
|
||||
|
||||
- Alfphabet IV currently provides the following Unicode coverage:
|
||||
- Basic Latin: 95/95
|
||||
- Latin-1 Supplement: 60/96
|
||||
|
||||
## Information for Contributors
|
||||
|
||||
Copyright 1992-2014 Hammerfonts and OSP (Karl Bassil, Nadim Zablit, Pierre Huyghebaert, Ludivine Loiseau).
|
||||
|
||||
Alfphabet is released under the OFL 1.1 -- http://scripts.sil.org/OFL For information on what you're allowed to change or modify, consult the ofl.txt and ofl-faq.txt files. The ofl-faq also gives a very general rationale and various recommendations regarding why you would want to contribute to the project or make your own version of the font.
|
||||
## ChangeLog
|
||||
|
||||
To do
|
||||
|
||||
## Acknowledgements
|
||||
|
||||
If you make modifications be sure to add your name (N), email (E), web-address (W) and description (D).
|
||||
This list is sorted by last name in alphabetical order.
|
||||
|
||||
N: Karl Bassil
|
||||
E: karl.bassil@mindthegap.com.lb
|
||||
W: http://www.mindthegap.com.lb
|
||||
D: Typography
|
||||
|
||||
N: Pierre Huyghebaert
|
||||
E: pierre@speculoos.com
|
||||
W: http://www.speculoos.com
|
||||
D: Typography
|
||||
|
||||
N: Ludi Loiseau
|
||||
E: hello@ludi.be
|
||||
W: http://www.ludi.be
|
||||
D: Typography
|
||||
|
||||
N: Nadim Zablit
|
||||
E: nadim.zablit@scopeateliers.com
|
||||
W: http://scopeateliers.com
|
||||
D: Typography
|
||||
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output/theme/css/fonts/alfabet-master/fonts/webfonts/Alfphabet-I.woff
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output/theme/css/fonts/alfabet-master/fonts/webfonts/Alfphabet-I.woff
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BIN
output/theme/css/fonts/alfabet-master/fonts/webfonts/Alfphabet-III.woff
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output/theme/css/fonts/alfabet-master/fonts/webfonts/Alfphabet-III.woff
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output/theme/css/fonts/alfabet-master/fonts/webfonts/Alfphabet-IV.woff
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output/theme/css/fonts/alfabet-master/fonts/webfonts/Alfphabet-IV.woff
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BIN
output/theme/css/fonts/alfabet-master/iceberg/alfphabet_condensed_medor.png
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BIN
output/theme/css/fonts/alfabet-master/iceberg/alfphabet_condensed_medor.png
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|
After Width: | Height: | Size: 282 KiB |
BIN
output/theme/css/fonts/alfabet-master/iceberg/cover.png
Executable file
BIN
output/theme/css/fonts/alfabet-master/iceberg/cover.png
Executable file
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|
After Width: | Height: | Size: 26 KiB |
BIN
output/theme/css/fonts/alfabet-master/iceberg/types-alfphabet.png
Executable file
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output/theme/css/fonts/alfabet-master/iceberg/types-alfphabet.png
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|
After Width: | Height: | Size: 12 KiB |
20195
output/theme/css/fonts/alfabet-master/sources/Alfabet-typeI.sfd
Executable file
20195
output/theme/css/fonts/alfabet-master/sources/Alfabet-typeI.sfd
Executable file
File diff suppressed because it is too large
Load Diff
48
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/features.fea
Executable file
48
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/features.fea
Executable file
@ -0,0 +1,48 @@
|
||||
languagesystem latn dflt;
|
||||
|
||||
|
||||
# GSUB
|
||||
|
||||
|
||||
lookup cligContextualLigaturesinLatinlookup0 {
|
||||
lookupflag 0;
|
||||
sub \f \i by \fi;
|
||||
sub \f \l by \f_l;
|
||||
sub \f \f by \f_f;
|
||||
sub \f \f \i by \uniFB03;
|
||||
sub \f \f \l by \uniFB04;
|
||||
} cligContextualLigaturesinLatinlookup0;
|
||||
|
||||
feature clig {
|
||||
|
||||
script latn;
|
||||
language dflt ;
|
||||
lookup cligContextualLigaturesinLatinlookup0;
|
||||
} clig;
|
||||
#Mark attachment classes (defined in GDEF, used in lookupflags)
|
||||
|
||||
@GDEF_Simple = [\.null \nonmarkingreturn \space \Acircumflex \Adieresis \Agrave
|
||||
\Aring \Atilde \B \C \Ccedilla \D \E \Eacute \Ecircumflex \Edieresis \Egrave \F \G \H
|
||||
\I \Iacute \Icircumflex \Idieresis \Igrave \J \K \L \M \N \Ntilde \O \OE \Oacute
|
||||
\Ocircumflex \Odieresis \Ograve \Otilde \P \Q \R \S \T \U \Uacute \Ucircumflex
|
||||
\Udieresis \Ugrave \V \W \X \Y \Ydieresis \Z \a \aacute \acircumflex \acute
|
||||
\adieresis \ae \agrave \aring \asciicircum \asciitilde \asterisk \at \atilde \b
|
||||
\backslash \bar \braceleft \braceright \bracketleft \bracketright \bullet \c
|
||||
\caron \ccedilla \cedilla \circumflex \colon \comma \copyright \d \degree
|
||||
\dieresis \divide \dotaccent \dotlessi \e \eacute \ecircumflex \edieresis
|
||||
\egrave \eight \ellipsis \emdash \endash \equal \exclam \f \five \four \g \grave
|
||||
\greater \guillemotleft \guillemotright \h \hyphen \i \iacute \icircumflex
|
||||
\idieresis \igrave \j \k \l \less \m \n \nine \ntilde \numbersign \o \oacute
|
||||
\ocircumflex \odieresis \oe \ograve \one \ordmasculine \otilde \p \parenleft
|
||||
\parenright \period \plus \plusminus \q \question \questiondown \quotedbl
|
||||
\quotedblbase \quotedblleft \quotedblright \quoteleft \quoteright
|
||||
\quotesinglbase \quotesingle \r \registered \s \semicolon \seven \six \slash
|
||||
\Aacute \sterling \t \three \trademark \two \u \uacute \ucircumflex \udieresis
|
||||
\ugrave \underscore \v \w \x \y \ydieresis \z \zero \A \AE \percent ];
|
||||
@GDEF_Ligature = [\fi \f_l \f_f \uniFB03 \uniFB04 ];
|
||||
|
||||
table GDEF {
|
||||
GlyphClassDef @GDEF_Simple, @GDEF_Ligature, , ;
|
||||
|
||||
} GDEF;
|
||||
|
||||
138
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/fontinfo.plist
Executable file
138
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/fontinfo.plist
Executable file
@ -0,0 +1,138 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<!DOCTYPE plist PUBLIC "-//Apple Computer//DTD PLIST 1.0//EN" "http://www.apple.com/DTDs/PropertyList-1.0.dtd">
|
||||
<plist version="1.0">
|
||||
<dict>
|
||||
<key>familyName</key>
|
||||
<string>Alfphabet</string>
|
||||
<key>styleName</key>
|
||||
<string>I</string>
|
||||
<key>styleMapFamilyName</key>
|
||||
<string>Alfphabet-I Alfphabet-I</string>
|
||||
<key>styleMapStyleName</key>
|
||||
<string>regular</string>
|
||||
<key>versionMajor</key>
|
||||
<integer>1</integer>
|
||||
<key>versionMinor</key>
|
||||
<integer>1</integer>
|
||||
<key>copyright</key>
|
||||
<string>Copyright (c) 2007-2010, OSP (http://ospublish.constantvzw.org)
|
||||
The Alfphabet family is based on the Belgian road signage (1945-1975, originally from 3M system working for the Marshall plan after the end of the war).</string>
|
||||
<key>unitsPerEm</key>
|
||||
<integer>1000</integer>
|
||||
<key>capHeight</key>
|
||||
<integer>712</integer>
|
||||
<key>xHeight</key>
|
||||
<integer>591</integer>
|
||||
<key>ascender</key>
|
||||
<integer>800</integer>
|
||||
<key>descender</key>
|
||||
<integer>-200</integer>
|
||||
<key>italicAngle</key>
|
||||
<real>0</real>
|
||||
<key>note</key>
|
||||
<string></string>
|
||||
<key>openTypeHeadCreated</key>
|
||||
<string>2007/09/24 14:20:57</string>
|
||||
<key>openTypeHheaAscender</key>
|
||||
<integer>712</integer>
|
||||
<key>openTypeHheaDescender</key>
|
||||
<integer>-121</integer>
|
||||
<key>openTypeHheaLineGap</key>
|
||||
<integer>62</integer>
|
||||
<key>openTypeNameManufacturer</key>
|
||||
<string>Copyright (c) 2007-2010, OSP (http://ospublish.constantvzw.org)</string>
|
||||
<key>openTypeNameLicenseURL</key>
|
||||
<string>http://scripts.sil.org/OFL</string>
|
||||
<key>openTypeNameVersion</key>
|
||||
<string>001.001</string>
|
||||
<key>openTypeNamePreferredFamilyName</key>
|
||||
<string>Alfphabet-I</string>
|
||||
<key>openTypeNamePreferredSubfamilyName</key>
|
||||
<string>Alfphabet-I</string>
|
||||
<key>openTypeOS2Panose</key>
|
||||
<array>
|
||||
<integer>2</integer>
|
||||
<integer>0</integer>
|
||||
<integer>5</integer>
|
||||
<integer>6</integer>
|
||||
<integer>2</integer>
|
||||
<integer>0</integer>
|
||||
<integer>0</integer>
|
||||
<integer>2</integer>
|
||||
<integer>0</integer>
|
||||
<integer>4</integer>
|
||||
</array>
|
||||
<key>openTypeOS2WidthClass</key>
|
||||
<integer>5</integer>
|
||||
<key>openTypeOS2WeightClass</key>
|
||||
<integer>400</integer>
|
||||
<key>openTypeOS2VendorID</key>
|
||||
<string>pyrs</string>
|
||||
<key>openTypeOS2FamilyClass</key>
|
||||
<array>
|
||||
<integer>0</integer>
|
||||
<integer>0</integer>
|
||||
</array>
|
||||
<key>openTypeOS2Type</key>
|
||||
<array>
|
||||
<integer>2</integer>
|
||||
</array>
|
||||
<key>openTypeOS2TypoAscender</key>
|
||||
<integer>712</integer>
|
||||
<key>openTypeOS2TypoDescender</key>
|
||||
<integer>-121</integer>
|
||||
<key>openTypeOS2TypoLineGap</key>
|
||||
<integer>62</integer>
|
||||
<key>openTypeOS2WinAscent</key>
|
||||
<integer>897</integer>
|
||||
<key>openTypeOS2WinDescent</key>
|
||||
<integer>250</integer>
|
||||
<key>openTypeOS2SubscriptXSize</key>
|
||||
<integer>700</integer>
|
||||
<key>openTypeOS2SubscriptYSize</key>
|
||||
<integer>650</integer>
|
||||
<key>openTypeOS2SubscriptXOffset</key>
|
||||
<integer>0</integer>
|
||||
<key>openTypeOS2SubscriptYOffset</key>
|
||||
<integer>140</integer>
|
||||
<key>openTypeOS2SuperscriptXSize</key>
|
||||
<integer>700</integer>
|
||||
<key>openTypeOS2SuperscriptYSize</key>
|
||||
<integer>650</integer>
|
||||
<key>openTypeOS2SuperscriptXOffset</key>
|
||||
<integer>0</integer>
|
||||
<key>openTypeOS2SuperscriptYOffset</key>
|
||||
<integer>477</integer>
|
||||
<key>openTypeOS2StrikeoutSize</key>
|
||||
<integer>50</integer>
|
||||
<key>openTypeOS2StrikeoutPosition</key>
|
||||
<integer>250</integer>
|
||||
<key>openTypeOS2UnicodeRanges</key>
|
||||
<array>
|
||||
<integer>0</integer>
|
||||
</array>
|
||||
<key>openTypeOS2CodePageRanges</key>
|
||||
<array>
|
||||
<integer>0</integer>
|
||||
</array>
|
||||
<key>postscriptFontName</key>
|
||||
<string>Alfphabet-I</string>
|
||||
<key>postscriptFullName</key>
|
||||
<string>Alfphabet-I</string>
|
||||
<key>postscriptWeightName</key>
|
||||
<string>Book</string>
|
||||
<key>postscriptUnderlineThickness</key>
|
||||
<integer>0</integer>
|
||||
<key>postscriptUnderlinePosition</key>
|
||||
<integer>0</integer>
|
||||
<key>postscriptBlueValues</key>
|
||||
<array>
|
||||
<integer>-14</integer>
|
||||
<integer>0</integer>
|
||||
<integer>591</integer>
|
||||
<integer>602</integer>
|
||||
<integer>712</integer>
|
||||
<integer>727</integer>
|
||||
</array>
|
||||
</dict>
|
||||
</plist>
|
||||
22
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/A_.glif
Executable file
22
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/A_.glif
Executable file
@ -0,0 +1,22 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="A" format="1">
|
||||
<advance width="684"/>
|
||||
<unicode hex="0041"/>
|
||||
<outline>
|
||||
<contour>
|
||||
<point x="401" y="712" type="line"/>
|
||||
<point x="613" y="0" type="line"/>
|
||||
<point x="489" y="0" type="line"/>
|
||||
<point x="450" y="131" type="line"/>
|
||||
<point x="234" y="131" type="line"/>
|
||||
<point x="195" y="0" type="line"/>
|
||||
<point x="71" y="0" type="line"/>
|
||||
<point x="282" y="712" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="415" y="249" type="line"/>
|
||||
<point x="342" y="495" type="line"/>
|
||||
<point x="269" y="249" type="line"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,32 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="AE" format="1">
|
||||
<advance width="882"/>
|
||||
<unicode hex="00C6"/>
|
||||
<outline>
|
||||
<contour>
|
||||
<point x="416" y="249" type="line"/>
|
||||
<point x="416" y="593" type="line"/>
|
||||
<point x="372" y="593" type="line"/>
|
||||
<point x="270" y="249" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="235" y="131" type="line"/>
|
||||
<point x="196" y="0" type="line"/>
|
||||
<point x="72" y="0" type="line"/>
|
||||
<point x="283" y="712" type="line"/>
|
||||
<point x="416" y="712" type="line"/>
|
||||
<point x="810" y="712" type="line"/>
|
||||
<point x="810" y="593" type="line"/>
|
||||
<point x="535" y="593" type="line"/>
|
||||
<point x="535" y="458" type="line"/>
|
||||
<point x="753" y="458" type="line"/>
|
||||
<point x="753" y="339" type="line"/>
|
||||
<point x="535" y="339" type="line"/>
|
||||
<point x="535" y="119" type="line"/>
|
||||
<point x="810" y="119" type="line"/>
|
||||
<point x="810" y="0" type="line"/>
|
||||
<point x="416" y="0" type="line"/>
|
||||
<point x="416" y="131" type="line"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,28 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="Aacute" format="1">
|
||||
<advance width="684"/>
|
||||
<unicode hex="00C1"/>
|
||||
<outline>
|
||||
<contour>
|
||||
<point x="401" y="712" type="line"/>
|
||||
<point x="613" y="0" type="line"/>
|
||||
<point x="489" y="0" type="line"/>
|
||||
<point x="450" y="131" type="line"/>
|
||||
<point x="234" y="131" type="line"/>
|
||||
<point x="195" y="0" type="line"/>
|
||||
<point x="71" y="0" type="line"/>
|
||||
<point x="282" y="712" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="415" y="249" type="line"/>
|
||||
<point x="342" y="495" type="line"/>
|
||||
<point x="269" y="249" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="299" y="755" type="line"/>
|
||||
<point x="264" y="790" type="line"/>
|
||||
<point x="359" y="886" type="line"/>
|
||||
<point x="410" y="836" type="line"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,30 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="Acircumflex" format="1">
|
||||
<advance width="684"/>
|
||||
<unicode hex="00C2"/>
|
||||
<outline>
|
||||
<contour>
|
||||
<point x="402" y="712" type="line"/>
|
||||
<point x="614" y="0" type="line"/>
|
||||
<point x="490" y="0" type="line"/>
|
||||
<point x="451" y="131" type="line"/>
|
||||
<point x="235" y="131" type="line"/>
|
||||
<point x="196" y="0" type="line"/>
|
||||
<point x="72" y="0" type="line"/>
|
||||
<point x="283" y="712" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="416" y="249" type="line"/>
|
||||
<point x="343" y="495" type="line"/>
|
||||
<point x="270" y="249" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="335" y="831" type="line"/>
|
||||
<point x="244" y="741" type="line"/>
|
||||
<point x="214" y="771" type="line"/>
|
||||
<point x="335" y="892" type="line"/>
|
||||
<point x="456" y="771" type="line"/>
|
||||
<point x="426" y="741" type="line"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,34 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="Adieresis" format="1">
|
||||
<advance width="684"/>
|
||||
<unicode hex="00C4"/>
|
||||
<outline>
|
||||
<contour>
|
||||
<point x="401" y="712" type="line"/>
|
||||
<point x="613" y="0" type="line"/>
|
||||
<point x="489" y="0" type="line"/>
|
||||
<point x="450" y="131" type="line"/>
|
||||
<point x="234" y="131" type="line"/>
|
||||
<point x="195" y="0" type="line"/>
|
||||
<point x="71" y="0" type="line"/>
|
||||
<point x="282" y="712" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="415" y="249" type="line"/>
|
||||
<point x="342" y="495" type="line"/>
|
||||
<point x="269" y="249" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="229" y="755" type="line"/>
|
||||
<point x="229" y="826" type="line"/>
|
||||
<point x="300" y="826" type="line"/>
|
||||
<point x="300" y="755" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="371" y="755" type="line"/>
|
||||
<point x="371" y="826" type="line"/>
|
||||
<point x="442" y="826" type="line"/>
|
||||
<point x="442" y="755" type="line"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,28 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="Agrave" format="1">
|
||||
<advance width="684"/>
|
||||
<unicode hex="00C0"/>
|
||||
<outline>
|
||||
<contour>
|
||||
<point x="402" y="712" type="line"/>
|
||||
<point x="614" y="0" type="line"/>
|
||||
<point x="490" y="0" type="line"/>
|
||||
<point x="451" y="131" type="line"/>
|
||||
<point x="235" y="131" type="line"/>
|
||||
<point x="196" y="0" type="line"/>
|
||||
<point x="72" y="0" type="line"/>
|
||||
<point x="283" y="712" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="416" y="249" type="line"/>
|
||||
<point x="343" y="495" type="line"/>
|
||||
<point x="270" y="249" type="line"/>
|
||||
</contour>
|
||||
<contour>
|
||||
<point x="311" y="886" type="line"/>
|
||||
<point x="407" y="790" type="line"/>
|
||||
<point x="372" y="755" type="line"/>
|
||||
<point x="261" y="836" type="line"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,22 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="Aring" format="1">
|
||||
<advance width="684"/>
|
||||
<unicode hex="00C5"/>
|
||||
<outline>
|
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output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/E_.glif
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19
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/F_.glif
Executable file
19
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Executable file
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output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/I_.glif
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24
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24
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/J_.glif
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Executable file
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20
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20
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Executable file
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55
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Executable file
55
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39
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93
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/ae.glif
Executable file
93
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/ae.glif
Executable file
@ -0,0 +1,93 @@
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126
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/at.glif
Executable file
126
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/at.glif
Executable file
@ -0,0 +1,126 @@
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<point x="326" y="517" type="line"/>
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<point x="329" y="550"/>
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<point x="357" y="607"/>
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<point x="401" y="649"/>
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<point x="457" y="673"/>
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<point x="489" y="673" type="qcurve" smooth="yes"/>
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<point x="523" y="673"/>
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<point x="653" y="215" type="line"/>
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<point x="677" y="236" type="line"/>
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<point x="719" y="279"/>
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<point x="768" y="391"/>
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<point x="768" y="457" type="qcurve" smooth="yes"/>
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<point x="768" y="522"/>
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<point x="719" y="634"/>
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<point x="677" y="677" type="qcurve" smooth="yes"/>
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<point x="634" y="719"/>
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<point x="521" y="768"/>
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<point x="456" y="768" type="qcurve" smooth="yes"/>
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<point x="391" y="768"/>
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<point x="279" y="719"/>
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<point x="236" y="677" type="qcurve" smooth="yes"/>
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<point x="194" y="634"/>
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<point x="145" y="522"/>
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<point x="145" y="457" type="qcurve" smooth="yes"/>
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<point x="145" y="263" type="line" smooth="yes"/>
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<point x="145" y="198"/>
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<point x="194" y="85"/>
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<point x="236" y="42" type="qcurve" smooth="yes"/>
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<point x="279" y="0"/>
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<point x="391" y="-49"/>
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<point x="456" y="-49" type="qcurve" smooth="yes"/>
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</contour>
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<contour>
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<point x="382" y="261" type="qcurve" smooth="yes"/>
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<point x="382" y="241"/>
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<point x="397" y="205"/>
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<point x="422" y="178"/>
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<point x="456" y="162"/>
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<point x="475" y="162" type="qcurve" smooth="yes"/>
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<point x="494" y="162"/>
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<point x="527" y="178"/>
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<point x="552" y="205"/>
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<point x="567" y="241"/>
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<point x="567" y="261" type="qcurve" smooth="yes"/>
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<point x="567" y="281"/>
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<point x="552" y="316"/>
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<point x="527" y="343"/>
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<point x="494" y="359"/>
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<point x="475" y="359" type="qcurve" smooth="yes"/>
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<point x="456" y="359"/>
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<point x="422" y="343"/>
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<point x="397" y="316"/>
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<point x="382" y="281"/>
|
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</contour>
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</outline>
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</glyph>
|
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@ -0,0 +1,9 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="atilde" format="1">
|
||||
<advance width="534"/>
|
||||
<unicode hex="00E3"/>
|
||||
<outline>
|
||||
<component base="asciitilde" xOffset="-21" yOffset="485"/>
|
||||
<component base="a"/>
|
||||
</outline>
|
||||
</glyph>
|
||||
46
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/b.glif
Executable file
46
output/theme/css/fonts/alfabet-master/sources/Alfphabet-I.ufo/glyphs/b.glif
Executable file
@ -0,0 +1,46 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="b" format="1">
|
||||
<advance width="505"/>
|
||||
<unicode hex="0062"/>
|
||||
<outline>
|
||||
<contour>
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<point x="253" y="591" type="qcurve" smooth="yes"/>
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<point x="290" y="591"/>
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<point x="356" y="563"/>
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<point x="406" y="513"/>
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<point x="434" y="447"/>
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<point x="434" y="410" type="qcurve" smooth="yes"/>
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<point x="434" y="182" type="line" smooth="yes"/>
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<point x="434" y="144"/>
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<point x="406" y="78"/>
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<point x="356" y="28"/>
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<point x="290" y="0"/>
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<point x="253" y="0" type="qcurve" smooth="yes"/>
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<point x="237" y="0"/>
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<point x="206" y="5"/>
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<point x="192" y="10" type="qcurve"/>
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<point x="192" y="0" type="line"/>
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<point x="71" y="0" type="line"/>
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<point x="71" y="712" type="line"/>
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<point x="192" y="712" type="line"/>
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<point x="192" y="581" type="line"/>
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<point x="219" y="591"/>
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</contour>
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<contour>
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<point x="313" y="410" type="line" smooth="yes"/>
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<point x="313" y="435"/>
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<point x="278" y="470"/>
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<point x="253" y="470" type="qcurve" smooth="yes"/>
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<point x="227" y="470"/>
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<point x="192" y="435"/>
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<point x="192" y="410" type="qcurve" smooth="yes"/>
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<point x="192" y="182" type="line" smooth="yes"/>
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<point x="192" y="156"/>
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<point x="227" y="121"/>
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<point x="253" y="121" type="qcurve" smooth="yes"/>
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<point x="278" y="121"/>
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<point x="313" y="156"/>
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<point x="313" y="182" type="qcurve" smooth="yes"/>
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</contour>
|
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</outline>
|
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</glyph>
|
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@ -0,0 +1,13 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="backslash" format="1">
|
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<advance width="833"/>
|
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<unicode hex="005C"/>
|
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<outline>
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<contour>
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<point x="8" y="718" type="line"/>
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<point x="86" y="718" type="line"/>
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<point x="325" y="-6" type="line"/>
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<point x="247" y="-6" type="line"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,13 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="bar" format="1">
|
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<advance width="267"/>
|
||||
<unicode hex="007C"/>
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<outline>
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<contour>
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<point x="90" y="750" type="line"/>
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<point x="177" y="750" type="line"/>
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<point x="177" y="-250" type="line"/>
|
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<point x="90" y="-250" type="line"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,56 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="braceleft" format="1">
|
||||
<advance width="370"/>
|
||||
<unicode hex="007B"/>
|
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<outline>
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<contour>
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<point x="159" y="326" type="qcurve"/>
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<point x="163" y="323"/>
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<point x="188" y="301"/>
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<point x="213" y="260"/>
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<point x="233" y="200"/>
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<point x="233" y="158" type="qcurve" smooth="yes"/>
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<point x="233" y="-43" type="line" smooth="yes"/>
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<point x="233" y="-68"/>
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<point x="254" y="-91" type="qcurve" smooth="yes"/>
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<point x="264" y="-99"/>
|
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<point x="287" y="-110"/>
|
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<point x="300" y="-110" type="qcurve"/>
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<point x="300" y="-155" type="line"/>
|
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<point x="300" y="-202" type="line"/>
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<point x="268" y="-202"/>
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<point x="212" y="-176"/>
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<point x="190" y="-155" type="qcurve" smooth="yes"/>
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<point x="167" y="-133"/>
|
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<point x="143" y="-75"/>
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<point x="143" y="-43" type="qcurve" smooth="yes"/>
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<point x="143" y="142" type="line" smooth="yes"/>
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<point x="143" y="198"/>
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<point x="107" y="273"/>
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<point x="70" y="289" type="qcurve"/>
|
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<point x="70" y="363" type="line"/>
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<point x="107" y="379"/>
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<point x="143" y="454"/>
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<point x="143" y="510" type="qcurve" smooth="yes"/>
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<point x="143" y="695" type="line" smooth="yes"/>
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<point x="143" y="727"/>
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<point x="167" y="785"/>
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<point x="190" y="807" type="qcurve" smooth="yes"/>
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<point x="212" y="828"/>
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<point x="268" y="854"/>
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<point x="300" y="854" type="qcurve"/>
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<point x="300" y="807" type="line"/>
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<point x="300" y="762" type="line"/>
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<point x="287" y="762"/>
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<point x="264" y="751"/>
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<point x="254" y="743" type="qcurve" smooth="yes"/>
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<point x="233" y="720"/>
|
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<point x="233" y="695" type="qcurve" smooth="yes"/>
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<point x="233" y="494" type="line" smooth="yes"/>
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<point x="233" y="452"/>
|
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<point x="213" y="392"/>
|
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<point x="188" y="351"/>
|
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<point x="163" y="329"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,56 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="braceright" format="1">
|
||||
<advance width="370"/>
|
||||
<unicode hex="007D"/>
|
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<outline>
|
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<contour>
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<point x="137" y="494" type="qcurve" smooth="yes"/>
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<point x="137" y="695" type="line" smooth="yes"/>
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<point x="137" y="720"/>
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<point x="116" y="743" type="qcurve" smooth="yes"/>
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<point x="106" y="751"/>
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<point x="83" y="762"/>
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<point x="70" y="762" type="qcurve"/>
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<point x="70" y="807" type="line"/>
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<point x="70" y="854" type="line"/>
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<point x="102" y="854"/>
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<point x="158" y="828"/>
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<point x="180" y="807" type="qcurve" smooth="yes"/>
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<point x="227" y="695" type="qcurve" smooth="yes"/>
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<point x="227" y="510" type="line" smooth="yes"/>
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<point x="227" y="454"/>
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<point x="263" y="379"/>
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<point x="300" y="363" type="qcurve"/>
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<point x="300" y="289" type="line"/>
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<point x="263" y="273"/>
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<point x="227" y="198"/>
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<point x="227" y="142" type="qcurve" smooth="yes"/>
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<point x="227" y="-43" type="line" smooth="yes"/>
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<point x="227" y="-75"/>
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<point x="203" y="-133"/>
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<point x="180" y="-155" type="qcurve" smooth="yes"/>
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<point x="70" y="-202" type="qcurve"/>
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<point x="70" y="-155" type="line"/>
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<point x="70" y="-110" type="line"/>
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<point x="83" y="-110"/>
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<point x="106" y="-99"/>
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<point x="116" y="-91" type="qcurve" smooth="yes"/>
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<point x="137" y="-68"/>
|
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<point x="137" y="-43" type="qcurve" smooth="yes"/>
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<point x="137" y="158" type="line" smooth="yes"/>
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<point x="137" y="200"/>
|
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<point x="157" y="260"/>
|
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<point x="182" y="301"/>
|
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<point x="206" y="323"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,17 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="bracketleft" format="1">
|
||||
<advance width="287"/>
|
||||
<unicode hex="005B"/>
|
||||
<outline>
|
||||
<contour>
|
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<point x="70" y="-62" type="line"/>
|
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<point x="70" y="750" type="line"/>
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<point x="252" y="750" type="line"/>
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<point x="252" y="700" type="line"/>
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<point x="170" y="700" type="line"/>
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<point x="170" y="-12" type="line"/>
|
||||
<point x="252" y="-12" type="line"/>
|
||||
<point x="252" y="-62" type="line"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,17 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="bracketright" format="1">
|
||||
<advance width="287"/>
|
||||
<unicode hex="005D"/>
|
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<outline>
|
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<contour>
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<point x="217" y="750" type="line"/>
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<point x="217" y="-62" type="line"/>
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<point x="35" y="-62" type="line"/>
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<point x="35" y="-12" type="line"/>
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<point x="117" y="-12" type="line"/>
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<point x="117" y="700" type="line"/>
|
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<point x="35" y="700" type="line"/>
|
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<point x="35" y="750" type="line"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
@ -0,0 +1,29 @@
|
||||
<?xml version="1.0" encoding="UTF-8"?>
|
||||
<glyph name="bullet" format="1">
|
||||
<advance width="499"/>
|
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<unicode hex="2022"/>
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<outline>
|
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<contour>
|
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<point x="72" y="356" type="qcurve" smooth="yes"/>
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<point x="72" y="393"/>
|
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|
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<point x="213" y="534"/>
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<point x="250" y="534" type="qcurve" smooth="yes"/>
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<point x="287" y="534"/>
|
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<point x="352" y="506"/>
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<point x="428" y="356" type="qcurve" smooth="yes"/>
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<point x="148" y="206"/>
|
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<point x="100" y="254"/>
|
||||
<point x="72" y="319"/>
|
||||
</contour>
|
||||
</outline>
|
||||
</glyph>
|
||||
Some files were not shown because too many files have changed in this diff Show More
Loading…
Reference in New Issue
Block a user