add hacksburg gazette; restructure Hunter Friday, August 15th, 2025 at 11:47 AM
1 +zines/david_zine
1 # What if you could hold a website? -Open ```zine.html``` in your web browser (or <a href="https://hunterirving.github.io/zine.html/zine.html">click here</a>) then use ```⌘``` + ```P``` to print an 8-page mini zine to one sheet of 8.5 x 11" legal paper. 2 +open ```zine.html``` in your web browser (or <a href="https://hunterirving.github.io/zine.html/zine.html">click here</a>) then use ```⌘``` + ```P``` to print an 8-page mini zine to one sheet of 8.5 x 11" legal paper. 3 4 <a href="https://hunterirving.github.io/zine.html/zine.html"><img src="resources/readme_images/zine-layout.png"></a> 5 6 >[!NOTE] ->For best results, in your system print dialog... 7 +>for best results, in your system print dialog... 8 >- ensure Portrait orientation is selected 9 >- set Margins to None or 0 10 >- select "Scale 100%" rather than "Fit to page width" 20 </a> 21 22 >[!TIP] ->Once assembled, consider gluing opposite pages together with a gluestick for increased structural stability. 23 +>once assembled, consider gluing each page together with a gluestick for increased structural stability. see <a href="/diagnostics/glue_guide/">the glue guide</a> for a recommended gluing pattern. 24 -# It's Your Zine Now -1. open ```template.html``` in your text editor of choice -2. modify the HTML within the existing ```.zine-page-content``` divs 25 +# In Stock 26 +1. <a href="https://hunterirving.github.io/zines/zine.html">zine.html</a><img src="resources/readme_images/hot.gif" style="padding-left:10px; height: 26px;"> 27 +> the literary classic that started a revolution in self-publishing. 28 +2. <a href="https://hunterirving.github.io/zines/hacksburg_gazette">the hacksburg gazette</a> 29 +> a promotional zine for Hacksburg, a makerspace in Blacksburg, VA. 30 + 31 +# Z.I.Y. (Zine it Yourself) 32 +1. open <a href="https://hunterirving.github.io/template.html">template.html</a> in your text editor of choice 33 +2. write some HTML within the existing ```.zine-page-content``` divs<br> 34 3. open the modified file in your favorite web browser 35 4. hit print! 36 -# In Stock -1. <a href="https://hunterirving.github.io/zine.html/zine.html">zine.html</a><img src="resources/readme_images/hot.gif" style="padding-left:10px; height: 26px;"> -> the literary classic that started a revolution in self-publishing. -2. <a href="https://hunterirving.github.io/zine.html/template.html">template.html</a> -> it's like zine.html, but with a blank canvas. wanna flesh it out? 37 +# Not Looking Right? 38 +if a given zine doesn't come out right on your printer (graphics/text cut off at the edges, etc.), please submit an issue and attach a picture of the failed print. 39 + 40 +(so far these have only been tested with one printer... mine) 41 -### Zine Ideas: 42 +>[!TIP] A diagnostic <a href="https://hunterirving.com/zinehtml/diagnostics/margin_finder">margin finder tool</a> is provided for your convenience. Print a copy to push your printer to its absolute limits, and then, knowing those limits, make some cool zines with it. 43 + 44 +# Cool Zine Ideas: 45 - comic book 46 - recipe book 47 - photo album 48 - album review 49 - dream journal -- manifesto 50 +- manifesto 51 + 52 +# Licenses 53 + 54 +## Project License 55 +This project is licensed under the GNU General Public License v3.0 (GPLv3). See the [LICENSE](LICENSE) file for details. 56 + 57 +## Font Licenses 58 + 59 +| Font | License | 60 +|------|---------| 61 +| Baskervvile | [SIL Open Font License](resources/fonts/baskervvile/OFL.txt) | 62 +| Basteleur | [SIL Open Font License](resources/fonts/basteleur-master/LICENSE.txt) | 63 +| CatShop | [SIL Open Font License](resources/fonts/CatShop/Open%20Font%20License.txt) | 64 +| CutMeOut | [SIL Open Font License](resources/fonts/CutMeOut/Open%20Font%20License.txt) | 65 +| Electrolize | [SIL Open Font License](resources/fonts/Electrolize/OFL.txt) | 66 +| ElbtunnelTT | [Creative Commons](resources/fonts/ElbtunnelTT/Creative%20Commons%20Lizenz.txt) | 67 +| ElbtunnelTT2 | [Creative Commons](resources/fonts/ElbtunnelTT2/Creative%20Commons%20Lizenz.txt) | 68 +| Eureka | [SIL Open Font License](resources/fonts/Eureka/Open%20Font%20License.txt) | 69 +| Eyechart | [SIL Open Font License](resources/fonts/Eyechart/Open%20Font%20License.txt) | 70 +| Immermann | [SIL Open Font License](resources/fonts/Immermann/Open%20Font%20License.txt) | 71 +| Impact Label | [Tension Type Free Font License](resources/fonts/impact-label/Tension%20Type%20Font%20License.txt) | 72 +| Indira_K | [SIL Open Font License](resources/fonts/Indira_K/OFL.txt) | 73 +| Instrument_Serif | [SIL Open Font License](resources/fonts/Instrument_Serif/OFL.txt) | 74 +| Kanalisirung | [SIL Open Font License](resources/fonts/Kanalisirung/OFL.txt) | 75 +| Karrik | [SIL Open Font License](resources/fonts/karrik_fonts-main/LICENCE.txt) | 76 +| MMX2010 | [SIL Open Font License](resources/fonts/MMX2010/Open%20Font%20License.txt) | 77 +| Mon_Hugo | [SIL Open Font License](resources/fonts/Mon_Hugo_freefont/FREE%20FONT%20LICENSE.txt) | 78 +| Murrx | [SIL Open Font License](resources/fonts/Murrx/Open%20Font%20License.txt) | 79 +| Néo-castel | [OIFL (French OFL)](resources/fonts/Néo-castel/Licence.txt) | 80 +| OUEST | [OIFL (French OFL)](resources/fonts/OUEST/license.txt) | 81 +| Resistance générale | [SIL Open Font License](resources/fonts/resistance-generale-master/LICENSE.txt) | 82 +| Special_Gothic_Expanded_One | [SIL Open Font License](resources/fonts/Special_Gothic_Expanded_One/OFL.txt) | 83 + 84 +For detailed license terms, see the individual license files linked above.
1 +<!DOCTYPE html> 2 +<html lang="en"> 3 +<head> 4 + <meta charset="UTF-8"> 5 + <meta name="viewport" content="width=device-width, initial-scale=1.0"> 6 + <title>template.html</title> 7 + <link rel="icon" href="data:image/svg+xml,<svg xmlns=%22http://www.w3.org/2000/svg%22 viewBox=%220 0 100 100%22><text y=%22.9em%22 font-size=%2290%22>⚪</text></svg>"> 8 + <style> 9 + :root { 10 + --rotation: 0deg; 11 + /* uncomment to flip */ 12 + /* --rotation: 180deg; */ 13 + } 14 + 15 + * { 16 + margin: 0; 17 + padding: 0; 18 + box-sizing: border-box; 19 + } 20 + 21 + html { 22 + transform: rotate(var(--rotation)); 23 + } 24 + 25 + body { 26 + font-family: Arial, sans-serif; 27 + /* background-color: rgb(117, 0, 128); */ 28 + background-image:url("../../resources/backgrounds/angels.jpg"); 29 + display: flex; 30 + justify-content: center; 31 + align-items: center; 32 + height: 100vh; 33 + overflow: auto; 34 + } 35 + 36 + #sheet { 37 + width: 11in; 38 + height: 8.5in; 39 + background-color: white; 40 + display: grid; 41 + grid-template-columns: repeat(4, 1fr); 42 + grid-template-rows: repeat(2, 1fr); 43 + gap: 0; 44 + outline: 2px solid black; 45 + position: relative; 46 + } 47 + 48 + #sheet::after { 49 + content: ''; 50 + position: absolute; 51 + top: 0; 52 + left: 0; 53 + width: 100%; 54 + height: 100%; 55 + background-color: black; 56 + z-index: -1; 57 + transform: rotate(calc(-1 * var(--rotation))) translateX(7px) translateY(7px) rotate(var(--rotation)); 58 + } 59 + 60 + #page3, #page4, #page5, #page6 { 61 + transform: rotate(180deg); 62 + } 63 + 64 + /* dashed line border */ 65 + #back-cover, #front-cover, #page1 { 66 + border-right: 1px dashed lightgrey; 67 + border-top: 1px dashed lightgrey; 68 + } 69 + #page2 { 70 + border-top: 1px dashed lightgrey; 71 + } 72 + #page4, #page5, #page6 { 73 + border-left: 1px dashed lightgrey; 74 + } 75 + 76 + .zine-page { 77 + height: 4.25in; 78 + width: 2.75in; 79 + padding-top: .08in; 80 + padding-bottom: .3in; 81 + padding-left: .2in; 82 + padding-right: .2in; 83 + } 84 + 85 + .zine-page-content { 86 + width: 100%; 87 + height: 100%; 88 + overflow: hidden; 89 + font-size: 18px; 90 + /* uncomment and print to determine appropriate .zine-page padding for your printer */ 91 + /* border:1px dashed black; */ 92 + } 93 + 94 + p { 95 + font-size: 17px; 96 + } 97 + 98 + img { 99 + max-width: 100%; 100 + float: right; 101 + margin-left: 5px; 102 + margin-bottom: 5px; 103 + } 104 + 105 + code { 106 + margin:20px; 107 + } 108 + 109 + pre { 110 + margin-top:8px; 111 + font-size: 15px; 112 + border:1px dotted grey; 113 + } 114 + 115 + /* Print styles */ 116 + @media print { 117 + #sheet { 118 + page-break-after: auto; 119 + page-break-inside: avoid; 120 + box-sizing: border-box; 121 + transform: rotate(90deg); 122 + outline: none; 123 + margin-bottom: 0; 124 + } 125 + #sheet::after { 126 + display: none; 127 + } 128 + #back-cover, #front-cover, #page1, #page2, #page3, #page4, #page5, #page6 { 129 + border: none; 130 + } 131 + @page { 132 + size: 8.5in 11in portrait; 133 + margin: 0; 134 + } 135 + a { 136 + color: black; 137 + } 138 + } 139 + 140 + ul { 141 + list-style-type: disc; 142 + padding-left: 20px; 143 + } 144 + 145 + ul.leaders { 146 + max-width: 40em; 147 + padding: 0; 148 + overflow-x: hidden; 149 + list-style: none; 150 + } 151 + ul.leaders li { 152 + padding-bottom: 10px; 153 + } 154 + ul.leaders li:before { 155 + float: left; 156 + width: 0; 157 + white-space: nowrap; 158 + content: "........................................"; 159 + } 160 + ul.leaders span:first-child { 161 + padding-right: 0.33em; 162 + background: white; 163 + } 164 + ul.leaders span + span { 165 + float: right; 166 + padding-left: 0.33em; 167 + background: white; 168 + } 169 + 170 + .highlighted { 171 + color: white; 172 + background-color: black; 173 + } 174 + </style> 175 +</head> 176 +<body> 177 + <div id="sheet"> 178 + <div class="zine-page" id="page6"> 179 + <div class="zine-page-content"> 180 + 181 + </div> 182 + </div> 183 + <div class="zine-page" id="page5" style="background-color:rgb(195, 168, 221)"> 184 + <div class="zine-page-content"> 185 + 186 + </div> 187 + </div> 188 + <div class="zine-page" id="page4"> 189 + <div class="zine-page-content"> 190 + 191 + </p> 192 + </div> 193 + </div> 194 + <div class="zine-page" id="page3" style="background-color:rgb(195, 168, 221)"> 195 + <div class="zine-page-content"> 196 + 197 + </div> 198 + </div> 199 + <div class="zine-page" id="back-cover" style="background-color:rgb(195, 168, 221)"> 200 + <div class="zine-page-content" style="display: flex; align-items: flex-end; justify-content: center;"> 201 + 202 + </div> 203 + </div> 204 + <div class="zine-page" id="front-cover"> 205 + <div class="zine-page-content"> 206 + 207 + </div> 208 + </div> 209 + <div class="zine-page" id="page1" style="background-color:rgb(195, 168, 221)"> 210 + <div class="zine-page-content" > 211 + 212 + </div> 213 + </div> 214 + <div class="zine-page" id="page2"> 215 + <div class="zine-page-content"> 216 + 217 + </div> 218 + </div> 219 + </div> 220 +</body> 221 +</html>
1 +<!DOCTYPE html> 2 +<html lang="en"> 3 +<head> 4 + <meta charset="UTF-8"> 5 + <meta name="viewport" content="width=device-width, initial-scale=1.0"> 6 + <title>template.html</title> 7 + <link rel="icon" href="data:image/svg+xml,<svg xmlns=%22http://www.w3.org/2000/svg%22 viewBox=%220 0 100 100%22><text y=%22.9em%22 font-size=%2290%22>⚪</text></svg>"> 8 + <style> 9 + :root { 10 + --rotation: 0deg; 11 + /* uncomment to flip */ 12 + /* --rotation: 180deg; */ 13 + } 14 + 15 + * { 16 + margin: 0; 17 + padding: 0; 18 + box-sizing: border-box; 19 + } 20 + 21 + html { 22 + transform: rotate(var(--rotation)); 23 + } 24 + 25 + body { 26 + font-family: Arial, sans-serif; 27 + background-image:url("../../resources/backgrounds/water.jpg"); 28 + display: flex; 29 + justify-content: center; 30 + align-items: center; 31 + height: 100vh; 32 + overflow: auto; 33 + } 34 + 35 + #sheet { 36 + width: 11in; 37 + height: 8.5in; 38 + background-color: white; 39 + display: grid; 40 + grid-template-columns: repeat(4, 1fr); 41 + grid-template-rows: repeat(2, 1fr); 42 + gap: 0; 43 + outline: 2px solid black; 44 + position: relative; 45 + } 46 + 47 + #sheet::after { 48 + content: ''; 49 + position: absolute; 50 + top: 0; 51 + left: 0; 52 + width: 100%; 53 + height: 100%; 54 + background-color: black; 55 + z-index: -1; 56 + transform: rotate(calc(-1 * var(--rotation))) translateX(7px) translateY(7px) rotate(var(--rotation)); 57 + } 58 + 59 + #page3, #page4, #page5, #page6 { 60 + transform: rotate(180deg); 61 + } 62 + 63 + /* dashed line border */ 64 + /* #back-cover, #front-cover, #page1 { 65 + border-right: 1px dashed lightgrey; 66 + border-top: 1px dashed lightgrey; 67 + } 68 + #page2 { 69 + border-top: 1px dashed lightgrey; 70 + } 71 + #page4, #page5, #page6 { 72 + border-left: 1px dashed lightgrey; 73 + } */ 74 + 75 + .zine-page { 76 + height: 4.25in; 77 + width: 2.75in; 78 + /* padding-top: .08in; 79 + padding-bottom: .3in; 80 + padding-left: .2in; 81 + padding-right: .2in; */ 82 + } 83 + 84 + .zine-page-content { 85 + width: 100%; 86 + height: 100%; 87 + overflow: hidden; 88 + font-size: 18px; 89 + /* uncomment and print to determine appropriate .zine-page padding for your printer */ 90 + /* border:1px dashed black; */ 91 + } 92 + 93 + p { 94 + font-size: 17px; 95 + } 96 + 97 + img { 98 + max-width: 100%; 99 + float: right; 100 + margin-left: 5px; 101 + margin-bottom: 5px; 102 + } 103 + 104 + code { 105 + margin:20px; 106 + } 107 + 108 + pre { 109 + margin-top:8px; 110 + font-size: 15px; 111 + border:1px dotted grey; 112 + } 113 + 114 + /* Print styles */ 115 + @media print { 116 + #sheet { 117 + page-break-after: auto; 118 + page-break-inside: avoid; 119 + box-sizing: border-box; 120 + transform: rotate(90deg); 121 + outline: none; 122 + margin-bottom: 0; 123 + } 124 + #sheet::after { 125 + display: none; 126 + } 127 + #back-cover, #front-cover, #page1, #page2, #page3, #page4, #page5, #page6 { 128 + border: none; 129 + } 130 + @page { 131 + size: 8.5in 11in portrait; 132 + margin: 0; 133 + } 134 + a { 135 + color: black; 136 + } 137 + } 138 + 139 + ul { 140 + list-style-type: disc; 141 + padding-left: 20px; 142 + } 143 + 144 + ul.leaders { 145 + max-width: 40em; 146 + padding: 0; 147 + overflow-x: hidden; 148 + list-style: none; 149 + } 150 + ul.leaders li { 151 + padding-bottom: 10px; 152 + } 153 + ul.leaders li:before { 154 + float: left; 155 + width: 0; 156 + white-space: nowrap; 157 + content: "........................................"; 158 + } 159 + ul.leaders span:first-child { 160 + padding-right: 0.33em; 161 + background: white; 162 + } 163 + ul.leaders span + span { 164 + float: right; 165 + padding-left: 0.33em; 166 + background: white; 167 + } 168 + 169 + .highlighted { 170 + color: white; 171 + background-color: black; 172 + } 173 + </style> 174 +</head> 175 +<body> 176 + <div id="sheet"> 177 + <div class="zine-page" id="page6"> 178 + <div class="zine-page-content" style="height: 100%; width: 100%;"> 179 + <div style="border: 1px solid magenta; height: 100%; position: relative; font-size: 18px; display: flex; align-items: center; justify-content: center;"> 180 + <div style="border: 1px solid darkblue;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 181 + <div style="border: 1px solid darkgreen;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 182 + <div style="border: 1px solid darkorange;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 183 + <div style="border: 1px solid black;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 184 + <div style="border: 1px solid red;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 185 + <div style="border: 1px solid blue;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 186 + <div style="border: 1px solid green;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 187 + <div style="border: 1px solid purple;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 188 + <div style="border: 1px solid orange;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 189 + <div style="border: 1px solid brown;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 190 + <div style="border: 1px solid pink;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 191 + <div style="display: flex; flex-direction: column; align-items: center; gap: 8px; font-weight: bold;"> 192 + <div style="color: magenta;">0in</div> 193 + <div style="color: darkblue;">.02in</div> 194 + <div style="color: darkgreen;">.04in</div> 195 + <div style="color: darkorange;">.06in</div> 196 + <div style="color: black;">.08in</div> 197 + <div style="color: red;">.1in</div> 198 + <div style="color: blue;">.12in</div> 199 + <div style="color: green;">.14in</div> 200 + <div style="color: purple;">.16in</div> 201 + <div style="color: orange;">.18in</div> 202 + <div style="color: brown;">.2in</div> 203 + <div style="color: pink;">.22in</div> 204 + </div> 205 + </div> 206 + </div> 207 + </div> 208 + </div> 209 + </div> 210 + </div> 211 + </div> 212 + </div> 213 + </div> 214 + </div> 215 + </div> 216 + </div> 217 + </div> 218 + </div> 219 + <div class="zine-page" id="page5"> 220 + <div class="zine-page-content"> 221 + 222 + </div> 223 + </div> 224 + <div class="zine-page" id="page4"> 225 + <div class="zine-page-content"> 226 + 227 + </div> 228 + </div> 229 + <div class="zine-page" id="page3"> 230 + <div class="zine-page-content" style="height: 100%; width: 100%;"> 231 + <div style="border: 1px solid magenta; height: 100%; position: relative; font-size: 18px; display: flex; align-items: center; justify-content: center;"> 232 + <div style="border: 1px solid darkblue;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 233 + <div style="border: 1px solid darkgreen;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 234 + <div style="border: 1px solid darkorange;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 235 + <div style="border: 1px solid black;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 236 + <div style="border: 1px solid red;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 237 + <div style="border: 1px solid blue;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 238 + <div style="border: 1px solid green;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 239 + <div style="border: 1px solid purple;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 240 + <div style="border: 1px solid orange;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 241 + <div style="border: 1px solid brown;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 242 + <div style="border: 1px solid pink;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 243 + <div style="display: flex; flex-direction: column; align-items: center; gap: 8px; font-weight: bold;"> 244 + <div style="color: magenta;">0in</div> 245 + <div style="color: darkblue;">.02in</div> 246 + <div style="color: darkgreen;">.04in</div> 247 + <div style="color: darkorange;">.06in</div> 248 + <div style="color: black;">.08in</div> 249 + <div style="color: red;">.1in</div> 250 + <div style="color: blue;">.12in</div> 251 + <div style="color: green;">.14in</div> 252 + <div style="color: purple;">.16in</div> 253 + <div style="color: orange;">.18in</div> 254 + <div style="color: brown;">.2in</div> 255 + <div style="color: pink;">.22in</div> 256 + </div> 257 + </div> 258 + </div> 259 + </div> 260 + </div> 261 + </div> 262 + </div> 263 + </div> 264 + </div> 265 + </div> 266 + </div> 267 + </div> 268 + </div> 269 + </div> 270 + </div> 271 + <div class="zine-page" id="back-cover"> 272 + <div class="zine-page-content" style="height: 100%; width: 100%;"> 273 + <div style="border: 1px solid magenta; height: 100%; position: relative; font-size: 18px; display: flex; align-items: center; justify-content: center;"> 274 + <div style="border: 1px solid darkblue;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 275 + <div style="border: 1px solid darkgreen;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 276 + <div style="border: 1px solid darkorange;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 277 + <div style="border: 1px solid black;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 278 + <div style="border: 1px solid red;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 279 + <div style="border: 1px solid blue;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 280 + <div style="border: 1px solid green;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 281 + <div style="border: 1px solid purple;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 282 + <div style="border: 1px solid orange;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 283 + <div style="border: 1px solid brown;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 284 + <div style="border: 1px solid pink;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 285 + <div style="display: flex; flex-direction: column; align-items: center; gap: 8px; font-weight: bold;"> 286 + <div style="color: magenta;">0in</div> 287 + <div style="color: darkblue;">.02in</div> 288 + <div style="color: darkgreen;">.04in</div> 289 + <div style="color: darkorange;">.06in</div> 290 + <div style="color: black;">.08in</div> 291 + <div style="color: red;">.1in</div> 292 + <div style="color: blue;">.12in</div> 293 + <div style="color: green;">.14in</div> 294 + <div style="color: purple;">.16in</div> 295 + <div style="color: orange;">.18in</div> 296 + <div style="color: brown;">.2in</div> 297 + <div style="color: pink;">.22in</div> 298 + </div> 299 + </div> 300 + </div> 301 + </div> 302 + </div> 303 + </div> 304 + </div> 305 + </div> 306 + </div> 307 + </div> 308 + </div> 309 + </div> 310 + </div> 311 + </div> 312 + </div> 313 + <div class="zine-page" id="front-cover"> 314 + <div class="zine-page-content"> 315 + 316 + </div> 317 + </div> 318 + <div class="zine-page" id="page1"> 319 + <div class="zine-page-content"> 320 + 321 + </div> 322 + </div> 323 + <div class="zine-page" id="page2"> 324 + <div class="zine-page-content" style="height: 100%; width: 100%;"> 325 + <div style="border: 1px solid magenta; height: 100%; position: relative; font-size: 18px; display: flex; align-items: center; justify-content: center;"> 326 + <div style="border: 1px solid darkblue;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 327 + <div style="border: 1px solid darkgreen;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 328 + <div style="border: 1px solid darkorange;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 329 + <div style="border: 1px solid black;height: calc(100% - 0.04in); width: calc(100% - 0.04in); position: relative; display: flex; align-items: center; justify-content: center;"> 330 + <div style="border: 1px solid red;height: calc(100% - 0.04in); width: calc(100% - 0.04in); 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1 +Copyright (c) 2009, Peter Wiegel, www.peter-wiegel.de, wiegel@peter-wiegel.de 2 +with Reserved Font Name CatShop. 3 + 4 + 5 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 6 +This license is copied below, and is also available with a FAQ at: 7 +http://scripts.sil.org/OFL 8 + 9 + 10 +----------------------------------------------------------- 11 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 12 +----------------------------------------------------------- 13 + 14 +PREAMBLE 15 +The goals of the Open Font License (OFL) are to stimulate worldwide 16 +development of collaborative font projects, to support the font creation 17 +efforts of academic and linguistic communities, and to provide a free and 18 +open framework in which fonts may be shared and improved in partnership 19 +with others. 20 + 21 +The OFL allows the licensed fonts to be used, studied, modified and 22 +redistributed freely as long as they are not sold by themselves. The 23 +fonts, including any derivative works, can be bundled, embedded, 24 +redistributed and/or sold with any software provided that any reserved 25 +names are not used by derivative works. The fonts and derivatives, 26 +however, cannot be released under any other type of license. The 27 +requirement for fonts to remain under this license does not apply 28 +to any document created using the fonts or their derivatives. 29 + 30 +DEFINITIONS 31 +"Font Software" refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +"Reserved Font Name" refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +"Original Version" refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +"Modified Version" refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +"Author" refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 +PERMISSION & CONDITIONS 50 +Permission is hereby granted, free of charge, to any person obtaining 51 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 52 +redistribute, and sell modified and unmodified copies of the Font 53 +Software, subject to the following conditions: 54 + 55 +1) Neither the Font Software nor any of its individual components, 56 +in Original or Modified Versions, may be sold by itself. 57 + 58 +2) Original or Modified Versions of the Font Software may be bundled, 59 +redistributed and/or sold with any software, provided that each copy 60 +contains the above copyright notice and this license. These can be 61 +included either as stand-alone text files, human-readable headers or 62 +in the appropriate machine-readable metadata fields within text or 63 +binary files as long as those fields can be easily viewed by the user. 64 + 65 +3) No Modified Version of the Font Software may use the Reserved Font 66 +Name(s) unless explicit written permission is granted by the corresponding 67 +Copyright Holder. This restriction only applies to the primary font name as 68 +presented to the users. 69 + 70 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 71 +Software shall not be used to promote, endorse or advertise any 72 +Modified Version, except to acknowledge the contribution(s) of the 73 +Copyright Holder(s) and the Author(s) or with their explicit written 74 +permission. 75 + 76 +5) The Font Software, modified or unmodified, in part or in whole, 77 +must be distributed entirely under this license, and must not be 78 +distributed under any other license. The requirement for fonts to 79 +remain under this license does not apply to any document created 80 +using the Font Software. 81 + 82 +TERMINATION 83 +This license becomes null and void if any of the above conditions are 84 +not met. 85 + 86 +DISCLAIMER 87 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 88 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 89 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 90 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 91 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 92 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 93 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 94 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 95 +OTHER DEALINGS IN THE FONT SOFTWARE.
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1 +Copyright (c) 2009, Peter Wiegel, www.peter-wiegel.de, wiegel@peter-wiegel.de 2 +with Reserved Font Name CatShop. 3 + 4 + 5 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 6 +This license is copied below, and is also available with a FAQ at: 7 +http://scripts.sil.org/OFL 8 + 9 + 10 +----------------------------------------------------------- 11 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 12 +----------------------------------------------------------- 13 + 14 +PREAMBLE 15 +The goals of the Open Font License (OFL) are to stimulate worldwide 16 +development of collaborative font projects, to support the font creation 17 +efforts of academic and linguistic communities, and to provide a free and 18 +open framework in which fonts may be shared and improved in partnership 19 +with others. 20 + 21 +The OFL allows the licensed fonts to be used, studied, modified and 22 +redistributed freely as long as they are not sold by themselves. The 23 +fonts, including any derivative works, can be bundled, embedded, 24 +redistributed and/or sold with any software provided that any reserved 25 +names are not used by derivative works. The fonts and derivatives, 26 +however, cannot be released under any other type of license. The 27 +requirement for fonts to remain under this license does not apply 28 +to any document created using the fonts or their derivatives. 29 + 30 +DEFINITIONS 31 +"Font Software" refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +"Reserved Font Name" refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +"Original Version" refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +"Modified Version" refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +"Author" refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 +PERMISSION & CONDITIONS 50 +Permission is hereby granted, free of charge, to any person obtaining 51 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 52 +redistribute, and sell modified and unmodified copies of the Font 53 +Software, subject to the following conditions: 54 + 55 +1) Neither the Font Software nor any of its individual components, 56 +in Original or Modified Versions, may be sold by itself. 57 + 58 +2) Original or Modified Versions of the Font Software may be bundled, 59 +redistributed and/or sold with any software, provided that each copy 60 +contains the above copyright notice and this license. These can be 61 +included either as stand-alone text files, human-readable headers or 62 +in the appropriate machine-readable metadata fields within text or 63 +binary files as long as those fields can be easily viewed by the user. 64 + 65 +3) No Modified Version of the Font Software may use the Reserved Font 66 +Name(s) unless explicit written permission is granted by the corresponding 67 +Copyright Holder. This restriction only applies to the primary font name as 68 +presented to the users. 69 + 70 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 71 +Software shall not be used to promote, endorse or advertise any 72 +Modified Version, except to acknowledge the contribution(s) of the 73 +Copyright Holder(s) and the Author(s) or with their explicit written 74 +permission. 75 + 76 +5) The Font Software, modified or unmodified, in part or in whole, 77 +must be distributed entirely under this license, and must not be 78 +distributed under any other license. The requirement for fonts to 79 +remain under this license does not apply to any document created 80 +using the Font Software. 81 + 82 +TERMINATION 83 +This license becomes null and void if any of the above conditions are 84 +not met. 85 + 86 +DISCLAIMER 87 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 88 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 89 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 90 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 91 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 92 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 93 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 94 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 95 +OTHER DEALINGS IN THE FONT SOFTWARE.
1 +Lizenzvertrag 2 + 3 +DAS URHEBERRECHTLICH GESCHÜTZTE WERK ODER DER SONSTIGE SCHUTZGEGENSTAND (WIE UNTEN BESCHRIEBEN) WIRD UNTER DEN BEDINGUNGEN DIESER CREATIVE COMMONS PUBLIC LICENSE („CCPL“ ODER „LIZENZVERTRAG“) ZUR VERFÜGUNG GESTELLT. DER SCHUTZGEGENSTAND IST DURCH DAS URHEBERRECHT UND/ODER EINSCHLÄGIGE GESETZE GESCHÜTZT. 4 + 5 +DURCH DIE AUSÜBUNG EINES DURCH DIESEN LIZENZVERTRAG GEWÄHRTEN RECHTS AN DEM SCHUTZGEGENSTAND ERKLÄREN SIE SICH MIT DEN LIZENZBEDINGUNGEN RECHTSVERBINDLICH EINVERSTANDEN. DER LIZENZGEBER RÄUMT IHNEN DIE HIER BESCHRIEBENEN RECHTE UNTER DER VORAUSSETZUNGEIN, DASS SIE SICH MIT DIESEN VERTRAGSBEDINGUNGEN EINVERSTANDEN ERKLÄREN. 6 + 7 +1. Definitionen 8 + 9 + 1. Unter einer „Bearbeitung“ wird eine Übersetzung oder andere Bearbeitung des Werkes verstanden, die Ihre persönliche geistige Schöpfung ist. Eine freie Benutzung des Werkes wird nicht als Bearbeitung angesehen. 10 + 2. Unter den „Lizenzelementen“ werden die folgenden Lizenzcharakteristika verstanden, die vom Lizenzgeber ausgewählt und in der Bezeichnung der Lizenz genannt werden: „Namensnennung“, „Nicht-kommerziell“, „Weitergabe unter gleichen Bedingungen“. 11 + 3. Unter dem „Lizenzgeber“ wird die natürliche oder juristische Person verstanden, die den Schutzgegenstand unter den Bedingungen dieser Lizenz anbietet. 12 + 4. Unter einem „Sammelwerk“ wird eine Sammlung von Werken, Daten oder anderen unabhängigen Elementen verstanden, die aufgrund der Auswahl oder Anordnung der Elemente eine persönliche geistige Schöpfung ist. Darunter fallen auch solche Sammelwerke, deren Elemente systematisch oder methodisch angeordnet und einzeln mit Hilfe elektronischer Mittel oder auf andere Weise zugänglich sind (Datenbankwerke). Ein Sammelwerk wird im Zusammenhang mit dieser Lizenz nicht als Bearbeitung (wie oben beschrieben) angesehen. 13 + 5. Mit „SIE“ und „Ihnen“ ist die natürliche oder juristische Person gemeint, die die durch diese Lizenz gewährten Nutzungsrechte ausübt und die zuvor die Bedingungen dieser Lizenz im Hinblick auf das Werk nicht verletzt hat, oder die die ausdrückliche Erlaubnis des Lizenzgebers erhalten hat, die durch diese Lizenz gewährten Nutzungsrechte trotz einer vorherigen Verletzung auszuüben. 14 + 6. Unter dem „Schutzgegenstand“wird das Werk oder Sammelwerk oder das Schutzobjekt eines verwandten Schutzrechts, das Ihnen unter den Bedingungen dieser Lizenz angeboten wird, verstanden 15 + 7. Unter dem „Urheber“ wird die natürliche Person verstanden, die das Werk geschaffen hat. 16 + 8. Unter einem „verwandten Schutzrecht“ wird das Recht an einem anderen urheberrechtlichen Schutzgegenstand als einem Werk verstanden, zum Beispiel einer wissenschaftlichen Ausgabe, einem nachgelassenen Werk, einem Lichtbild, einer Datenbank, einem Tonträger, einer Funksendung, einem Laufbild oder einer Darbietung eines ausübenden Künstlers. 17 + 9. Unter dem „Werk“ wird eine persönliche geistige Schöpfung verstanden, die Ihnen unter den Bedingungen dieser Lizenz angeboten wird. 18 + 19 +2. Schranken des Urheberrechts. Diese Lizenz lässt sämtliche Befugnisse unberührt, die sich aus den Schranken des Urheberrechts, aus dem Erschöpfungsgrundsatz oder anderen Beschränkungen der Ausschließlichkeitsrechte des Rechtsinhabers ergeben. 20 + 21 +3. Lizenzierung. Unter den Bedingungen dieses Lizenzvertrages räumt Ihnen der Lizenzgeber ein lizenzgebührenfreies, räumlich und zeitlich (für die Dauer des Urheberrechts oder verwandten Schutzrechts) unbeschränktes einfaches Nutzungsrecht ein, den Schutzgegenstand in der folgenden Art und Weise zu nutzen: 22 + 23 + 1. den Schutzgegenstand in körperlicher Form zu verwerten, insbesondere zu vervielfältigen, zu verbreiten und auszustellen; 24 + 2. den Schutzgegenstand in unkörperlicher Form öffentlich wiederzugeben, insbesondere vorzutragen, aufzuführen und vorzuführen, öffentlich zugänglich zu machen, zu senden, durch Bild- und Tonträger wiederzugeben sowie Funksendungen und öffentliche Zugänglichmachungen wiederzugeben; 25 + 3. den Schutzgegenstand auf Bild- oder Tonträger aufzunehmen, Lichtbilder davon herzustellen, weiterzusenden und in dem in a. und b. genannten Umfang zu verwerten; 26 + 4. den Schutzgegenstand zu bearbeiten oder in anderer Weise umzugestalten und die Bearbeitungen zu veröffentlichen und in dem in a. bis c. genannten Umfang zu verwerten; 27 + 28 +Die genannten Nutzungsrechte können für alle bekannten Nutzungsarten ausgeübt werden. Die genannten Nutzungsrechte beinhalten das Recht, solche Veränderungen an dem Werk vorzunehmen, die technisch erforderlich sind, um die Nutzungsrechte für alle Nutzungsarten wahrzunehmen. Insbesondere sind davon die Anpassung an andere Medien und auf andere Dateiformate umfasst. 29 + 30 +4. Beschränkungen. Die Einräumung der Nutzungsrechte gemäß Ziffer 3 erfolgt ausdrücklich nur unter den folgenden Bedingungen: 31 + 32 + 1. Sie dürfen den Schutzgegenstand ausschließlich unter den Bedingungen dieser Lizenz vervielfältigen, verbreiten oder öffentlich wiedergeben, und Sie müssen stets eine Kopie oder die vollständige Internetadresse in Form des Uniform-Resource-Identifier (URI) dieser Lizenz beifügen, wenn Sie den Schutzgegenstand vervielfältigen, verbreiten oder öffentlich wiedergeben. Sie dürfen keine Vertragsbedingungen anbieten oder fordern, die die Bedingungen dieser Lizenz oder die durch sie gewährten Rechte ändern oder beschränken. Sie dürfen den Schutzgegenstand nicht unterlizenzieren. Sie müssen alle Hinweise unverändert lassen, die auf diese Lizenz und den Haftungsausschluss hinweisen. Sie dürfen den Schutzgegenstand mit keinen technischen Schutzmaßnahmen versehen, die den Zugang oder den Gebrauch des Schutzgegenstandes in einer Weise kontrollieren, die mit den Bedingungen dieser Lizenz im Widerspruch stehen. Die genannten Beschränkungen gelten auch für den Fall, dass der Schutzgegenstand einen Bestandteil eines Sammelwerkes bildet; sie verlangen aber nicht, dass das Sammelwerk insgesamt zum Gegenstand dieser Lizenz gemacht wird. Wenn Sie ein Sammelwerk erstellen, müssen Sie - soweit dies praktikabel ist - auf die Mitteilung eines Lizenzgebers oder Urhebers hin aus dem Sammelwerk jeglichen Hinweis auf diesen Lizenzgeber oder diesen Urheber entfernen. Wenn Sie den Schutzgegenstand bearbeiten, müssen Sie - soweit dies praktikabel ist- auf die Aufforderung eines Rechtsinhabers hin von der Bearbeitung jeglichen Hinweis auf diesen Rechtsinhaber entfernen. 33 + 2. Sie dürfen eine Bearbeitung ausschließlich unter den Bedingungen dieser Lizenz, einer späteren Version dieser Lizenz mit denselben Lizenzelementen wie diese Lizenz oder einer Creative Commons iCommons Lizenz, die dieselben Lizenzelemente wie diese Lizenz enthält (z.B. Namensnennung - Nicht-kommerziell - Weitergabe unter gleichen Bedingungen 2.0 Japan), vervielfältigen, verbreiten oder öffentlich wiedergeben. Sie müssen stets eine Kopie oder die Internetadresse in Form des Uniform-Resource-Identifier (URI) dieser Lizenz oder einer anderen Lizenz der im vorhergehenden Satz beschriebenen Art beifügen, wenn Sie die Bearbeitung vervielfältigen, verbreiten oder öffentlich wiedergeben. Sie dürfen keine Vertragsbedingungen anbieten oder fordern, die die Bedingungen dieser Lizenz oder die durch sie gewährten Rechte ändern oder beschränken, und Sie müssen alle Hinweise unverändert lassen, die auf diese Lizenz und den Haftungsausschluss hinweisen. Sie dürfen eine Bearbeitung nicht mit technischen Schutzmaßnahmen versehen, die den Zugang oder den Gebrauch der Bearbeitung in einer Weise kontrollieren, die mit den Bedingungen dieser Lizenz im Widerspruch stehen. Die genannten Beschränkungen gelten auch für eine Bearbeitung als Bestandteil eines Sammelwerkes; sie erfordern aber nicht, dass das Sammelwerk insgesamt zum Gegenstand dieser Lizenz gemacht wird. 34 + 3. Wenn Sie den Schutzgegenstand oder eine Bearbeitung oder ein Sammelwerk vervielfältigen, verbreiten oder öffentlich wiedergeben, müssen Sie alle Urhebervermerke für den Schutzgegenstand unverändert lassen und die Urheberschaft oder Rechtsinhaberschaft in einer der von Ihnen vorgenommenen Nutzung angemessenen Form anerkennen, indem Sie den Namen (oder das Pseudonym, falls ein solches verwendet wird) des Urhebers oder Rechteinhabers nennen, wenn dieser angegeben ist. Dies gilt auch für den Titel des Schutzgegenstandes, wenn dieser angeben ist, sowie - in einem vernünftigerweise durchführbaren Umfang - für die mit dem Schutzgegenstand zu verbindende Internetadresse in Form des Uniform-Resource-Identifier (URI), wie sie der Lizenzgeber angegeben hat, sofern dies geschehen ist, es sei denn, diese Internetadresse verweist nicht auf den Urhebervermerk oder die Lizenzinformationen zu dem Schutzgegenstand. Bei einer Bearbeitung ist ein Hinweis darauf aufzuführen, in welcher Form der Schutzgegenstand in die Bearbeitung eingegangen ist (z.B. „Französische Übersetzung des ... (Werk) durch ... (Urheber)“ oder „Das Drehbuch beruht auf dem Werk des ... (Urheber)“). Ein solcher Hinweis kann in jeder angemessenen Weise erfolgen, wobei jedoch bei einer Bearbeitung, einer Datenbank oder einem Sammelwerk der Hinweis zumindest an gleicher Stelle und in ebenso auffälliger Weise zu erfolgen hat wie vergleichbare Hinweise auf andere Rechtsinhaber. 35 + 4. Obwohl die gemäss Ziffer 3 gewährten Nutzungsrechte in umfassender Weise 36 + ausgeübt werden dürfen, findet diese Erlaubnis ihre gesetzliche Grenze in 37 + den Persönlichkeitsrechten der Urheber und ausübenden Künstler, deren berechtigte geistige und persönliche Interessen bzw. deren Ansehen oder Ruf nicht dadurch gefährdet werden dürfen, dass ein Schutzgegenstand über das gesetzlich zulässige Maß hinaus beeinträchtigt wird. 38 + 39 +5. Gewährleistung. Sofern dies von den Vertragsparteien nicht anderweitig schriftlich vereinbart,, bietet der Lizenzgeber keine Gewährleistung für die erteilten Rechte, außer für den Fall, dass Mängel arglistig verschwiegen wurden. Für Mängel anderer Art, insbesondere bei der mangelhaften Lieferung von Verkörperungen des Schutzgegenstandes, richtet sich die Gewährleistung nach der Regelung, die die Person, die Ihnen den Schutzgegenstand zur Verfügung stellt, mit Ihnen außerhalb dieser Lizenz vereinbart, oder - wenn eine solche Regelung nicht getroffen wurde - nach den gesetzlichen Vorschriften. 40 + 41 +6. Haftung. Über die in Ziffer 5 genannte Gewährleistung hinaus haftet Ihnen der Lizenzgeber nur für Vorsatz und grobe Fahrlässigkeit. 42 + 43 +7. Vertragsende 44 + 45 + 1. Dieser Lizenzvertrag und die durch ihn eingeräumten Nutzungsrechte enden automatisch bei jeder Verletzung der Vertragsbedingungen durch Sie. Für natürliche und juristische Personen, die von Ihnen eine Bearbeitung, eine Datenbank oder ein Sammelwerk unter diesen Lizenzbedingungen erhalten haben, gilt die Lizenz jedoch weiter, vorausgesetzt, diese natürlichen oder juristischen Personen erfüllen sämtliche Vertragsbedingungen. Die Ziffern 1, 2, 5, 6, 7 und 8 gelten bei einer Vertragsbeendigung fort. 46 + 2. Unter den oben genannten Bedingungen erfolgt die Lizenz auf unbegrenzte Zeit (für die Dauer des Schutzrechts). Dennoch behält sich der Lizenzgeber das Recht vor, den Schutzgegenstand unter anderen Lizenzbedingungen zu nutzen oder die eigene Weitergabe des Schutzgegenstandes jederzeit zu beenden, vorausgesetzt, dass solche Handlungen nicht dem Widerruf dieser Lizenz dienen (oder jeder anderen Lizenzierung, die auf Grundlage dieser Lizenz erfolgt ist oder erfolgen muss) und diese Lizenz wirksam bleibt, bis Sie unter den oben genannten Voraussetzungen endet. 47 + 48 +8. Schlussbestimmungen 49 + 50 + 1. Jedes Mal, wenn Sie den Schutzgegenstand vervielfältigen, verbreiten oder öffentlich wiedergeben, bietet der Lizenzgeber dem Erwerber eine Lizenz für den Schutzgegenstand unter denselben Vertragsbedingungen an, unter denen er Ihnen die Lizenz eingeräumt hat. 51 + 2. Jedes Mal, wenn Sie eine Bearbeitung vervielfältigen, verbreiten oder öffentlich wiedergeben, bietet der Lizenzgeber dem Erwerber eine Lizenz für den ursprünglichen Schutzgegenstand unter denselben Vertragsbedingungen an, unter denen er Ihnen die Lizenz eingeräumt hat. 52 + 3. Sollte eine Bestimmung dieses Lizenzvertrages unwirksam sein, so wird die Wirksamkeit der übrigen Lizenzbestimmungen dadurch nicht berührt, und an die Stelle der unwirksamen Bestimmung tritt eine Ersatzregelung, die dem mit der unwirksamen Bestimmung angestrebten Zweck am nächsten kommt. 53 + 4. Nichts soll dahingehend ausgelegt werden, dass auf eine Bestimmung dieses Lizenzvertrages verzichtet oder einer Vertragsverletzung zugestimmt wird, so lange ein solcher Verzicht oder eine solche Zustimmung nicht schriftlich vorliegen und von der verzichtenden oder zustimmenden Vertragspartei unterschrieben sind 54 + 5. Dieser Lizenzvertrag stellt die vollständige Vereinbarung zwischen den Vertragsparteien hinsichtlich des Schutzgegenstandes dar. Es gibt keine weiteren ergänzenden Vereinbarungen oder mündlichen Abreden im Hinblick auf den Schutzgegenstand. Der Lizenzgeber ist an keine zusätzlichen Abreden gebunden, die aus irgendeiner Absprache mit Ihnen entstehen könnten. Der Lizenzvertrag kann nicht ohne eine übereinstimmende schriftliche Vereinbarung zwischen dem Lizenzgeber und Ihnen abgeändert werden. 55 + 6. Auf diesen Lizenzvertrag findet das Recht der Bundesrepublik Deutschland Anwendung.
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1 +Lizenzvertrag 2 + 3 +DAS URHEBERRECHTLICH GESCHÜTZTE WERK ODER DER SONSTIGE SCHUTZGEGENSTAND (WIE UNTEN BESCHRIEBEN) WIRD UNTER DEN BEDINGUNGEN DIESER CREATIVE COMMONS PUBLIC LICENSE („CCPL“ ODER „LIZENZVERTRAG“) ZUR VERFÜGUNG GESTELLT. DER SCHUTZGEGENSTAND IST DURCH DAS URHEBERRECHT UND/ODER EINSCHLÄGIGE GESETZE GESCHÜTZT. 4 + 5 +DURCH DIE AUSÜBUNG EINES DURCH DIESEN LIZENZVERTRAG GEWÄHRTEN RECHTS AN DEM SCHUTZGEGENSTAND ERKLÄREN SIE SICH MIT DEN LIZENZBEDINGUNGEN RECHTSVERBINDLICH EINVERSTANDEN. DER LIZENZGEBER RÄUMT IHNEN DIE HIER BESCHRIEBENEN RECHTE UNTER DER VORAUSSETZUNGEIN, DASS SIE SICH MIT DIESEN VERTRAGSBEDINGUNGEN EINVERSTANDEN ERKLÄREN. 6 + 7 +1. Definitionen 8 + 9 + 1. Unter einer „Bearbeitung“ wird eine Übersetzung oder andere Bearbeitung des Werkes verstanden, die Ihre persönliche geistige Schöpfung ist. Eine freie Benutzung des Werkes wird nicht als Bearbeitung angesehen. 10 + 2. Unter den „Lizenzelementen“ werden die folgenden Lizenzcharakteristika verstanden, die vom Lizenzgeber ausgewählt und in der Bezeichnung der Lizenz genannt werden: „Namensnennung“, „Nicht-kommerziell“, „Weitergabe unter gleichen Bedingungen“. 11 + 3. Unter dem „Lizenzgeber“ wird die natürliche oder juristische Person verstanden, die den Schutzgegenstand unter den Bedingungen dieser Lizenz anbietet. 12 + 4. Unter einem „Sammelwerk“ wird eine Sammlung von Werken, Daten oder anderen unabhängigen Elementen verstanden, die aufgrund der Auswahl oder Anordnung der Elemente eine persönliche geistige Schöpfung ist. Darunter fallen auch solche Sammelwerke, deren Elemente systematisch oder methodisch angeordnet und einzeln mit Hilfe elektronischer Mittel oder auf andere Weise zugänglich sind (Datenbankwerke). Ein Sammelwerk wird im Zusammenhang mit dieser Lizenz nicht als Bearbeitung (wie oben beschrieben) angesehen. 13 + 5. Mit „SIE“ und „Ihnen“ ist die natürliche oder juristische Person gemeint, die die durch diese Lizenz gewährten Nutzungsrechte ausübt und die zuvor die Bedingungen dieser Lizenz im Hinblick auf das Werk nicht verletzt hat, oder die die ausdrückliche Erlaubnis des Lizenzgebers erhalten hat, die durch diese Lizenz gewährten Nutzungsrechte trotz einer vorherigen Verletzung auszuüben. 14 + 6. Unter dem „Schutzgegenstand“wird das Werk oder Sammelwerk oder das Schutzobjekt eines verwandten Schutzrechts, das Ihnen unter den Bedingungen dieser Lizenz angeboten wird, verstanden 15 + 7. Unter dem „Urheber“ wird die natürliche Person verstanden, die das Werk geschaffen hat. 16 + 8. Unter einem „verwandten Schutzrecht“ wird das Recht an einem anderen urheberrechtlichen Schutzgegenstand als einem Werk verstanden, zum Beispiel einer wissenschaftlichen Ausgabe, einem nachgelassenen Werk, einem Lichtbild, einer Datenbank, einem Tonträger, einer Funksendung, einem Laufbild oder einer Darbietung eines ausübenden Künstlers. 17 + 9. Unter dem „Werk“ wird eine persönliche geistige Schöpfung verstanden, die Ihnen unter den Bedingungen dieser Lizenz angeboten wird. 18 + 19 +2. Schranken des Urheberrechts. Diese Lizenz lässt sämtliche Befugnisse unberührt, die sich aus den Schranken des Urheberrechts, aus dem Erschöpfungsgrundsatz oder anderen Beschränkungen der Ausschließlichkeitsrechte des Rechtsinhabers ergeben. 20 + 21 +3. Lizenzierung. Unter den Bedingungen dieses Lizenzvertrages räumt Ihnen der Lizenzgeber ein lizenzgebührenfreies, räumlich und zeitlich (für die Dauer des Urheberrechts oder verwandten Schutzrechts) unbeschränktes einfaches Nutzungsrecht ein, den Schutzgegenstand in der folgenden Art und Weise zu nutzen: 22 + 23 + 1. den Schutzgegenstand in körperlicher Form zu verwerten, insbesondere zu vervielfältigen, zu verbreiten und auszustellen; 24 + 2. den Schutzgegenstand in unkörperlicher Form öffentlich wiederzugeben, insbesondere vorzutragen, aufzuführen und vorzuführen, öffentlich zugänglich zu machen, zu senden, durch Bild- und Tonträger wiederzugeben sowie Funksendungen und öffentliche Zugänglichmachungen wiederzugeben; 25 + 3. den Schutzgegenstand auf Bild- oder Tonträger aufzunehmen, Lichtbilder davon herzustellen, weiterzusenden und in dem in a. und b. genannten Umfang zu verwerten; 26 + 4. den Schutzgegenstand zu bearbeiten oder in anderer Weise umzugestalten und die Bearbeitungen zu veröffentlichen und in dem in a. bis c. genannten Umfang zu verwerten; 27 + 28 +Die genannten Nutzungsrechte können für alle bekannten Nutzungsarten ausgeübt werden. Die genannten Nutzungsrechte beinhalten das Recht, solche Veränderungen an dem Werk vorzunehmen, die technisch erforderlich sind, um die Nutzungsrechte für alle Nutzungsarten wahrzunehmen. Insbesondere sind davon die Anpassung an andere Medien und auf andere Dateiformate umfasst. 29 + 30 +4. Beschränkungen. Die Einräumung der Nutzungsrechte gemäß Ziffer 3 erfolgt ausdrücklich nur unter den folgenden Bedingungen: 31 + 32 + 1. Sie dürfen den Schutzgegenstand ausschließlich unter den Bedingungen dieser Lizenz vervielfältigen, verbreiten oder öffentlich wiedergeben, und Sie müssen stets eine Kopie oder die vollständige Internetadresse in Form des Uniform-Resource-Identifier (URI) dieser Lizenz beifügen, wenn Sie den Schutzgegenstand vervielfältigen, verbreiten oder öffentlich wiedergeben. Sie dürfen keine Vertragsbedingungen anbieten oder fordern, die die Bedingungen dieser Lizenz oder die durch sie gewährten Rechte ändern oder beschränken. Sie dürfen den Schutzgegenstand nicht unterlizenzieren. Sie müssen alle Hinweise unverändert lassen, die auf diese Lizenz und den Haftungsausschluss hinweisen. Sie dürfen den Schutzgegenstand mit keinen technischen Schutzmaßnahmen versehen, die den Zugang oder den Gebrauch des Schutzgegenstandes in einer Weise kontrollieren, die mit den Bedingungen dieser Lizenz im Widerspruch stehen. Die genannten Beschränkungen gelten auch für den Fall, dass der Schutzgegenstand einen Bestandteil eines Sammelwerkes bildet; sie verlangen aber nicht, dass das Sammelwerk insgesamt zum Gegenstand dieser Lizenz gemacht wird. Wenn Sie ein Sammelwerk erstellen, müssen Sie - soweit dies praktikabel ist - auf die Mitteilung eines Lizenzgebers oder Urhebers hin aus dem Sammelwerk jeglichen Hinweis auf diesen Lizenzgeber oder diesen Urheber entfernen. Wenn Sie den Schutzgegenstand bearbeiten, müssen Sie - soweit dies praktikabel ist- auf die Aufforderung eines Rechtsinhabers hin von der Bearbeitung jeglichen Hinweis auf diesen Rechtsinhaber entfernen. 33 + 2. Sie dürfen eine Bearbeitung ausschließlich unter den Bedingungen dieser Lizenz, einer späteren Version dieser Lizenz mit denselben Lizenzelementen wie diese Lizenz oder einer Creative Commons iCommons Lizenz, die dieselben Lizenzelemente wie diese Lizenz enthält (z.B. Namensnennung - Nicht-kommerziell - Weitergabe unter gleichen Bedingungen 2.0 Japan), vervielfältigen, verbreiten oder öffentlich wiedergeben. Sie müssen stets eine Kopie oder die Internetadresse in Form des Uniform-Resource-Identifier (URI) dieser Lizenz oder einer anderen Lizenz der im vorhergehenden Satz beschriebenen Art beifügen, wenn Sie die Bearbeitung vervielfältigen, verbreiten oder öffentlich wiedergeben. Sie dürfen keine Vertragsbedingungen anbieten oder fordern, die die Bedingungen dieser Lizenz oder die durch sie gewährten Rechte ändern oder beschränken, und Sie müssen alle Hinweise unverändert lassen, die auf diese Lizenz und den Haftungsausschluss hinweisen. Sie dürfen eine Bearbeitung nicht mit technischen Schutzmaßnahmen versehen, die den Zugang oder den Gebrauch der Bearbeitung in einer Weise kontrollieren, die mit den Bedingungen dieser Lizenz im Widerspruch stehen. Die genannten Beschränkungen gelten auch für eine Bearbeitung als Bestandteil eines Sammelwerkes; sie erfordern aber nicht, dass das Sammelwerk insgesamt zum Gegenstand dieser Lizenz gemacht wird. 34 + 3. Wenn Sie den Schutzgegenstand oder eine Bearbeitung oder ein Sammelwerk vervielfältigen, verbreiten oder öffentlich wiedergeben, müssen Sie alle Urhebervermerke für den Schutzgegenstand unverändert lassen und die Urheberschaft oder Rechtsinhaberschaft in einer der von Ihnen vorgenommenen Nutzung angemessenen Form anerkennen, indem Sie den Namen (oder das Pseudonym, falls ein solches verwendet wird) des Urhebers oder Rechteinhabers nennen, wenn dieser angegeben ist. Dies gilt auch für den Titel des Schutzgegenstandes, wenn dieser angeben ist, sowie - in einem vernünftigerweise durchführbaren Umfang - für die mit dem Schutzgegenstand zu verbindende Internetadresse in Form des Uniform-Resource-Identifier (URI), wie sie der Lizenzgeber angegeben hat, sofern dies geschehen ist, es sei denn, diese Internetadresse verweist nicht auf den Urhebervermerk oder die Lizenzinformationen zu dem Schutzgegenstand. Bei einer Bearbeitung ist ein Hinweis darauf aufzuführen, in welcher Form der Schutzgegenstand in die Bearbeitung eingegangen ist (z.B. „Französische Übersetzung des ... (Werk) durch ... (Urheber)“ oder „Das Drehbuch beruht auf dem Werk des ... (Urheber)“). Ein solcher Hinweis kann in jeder angemessenen Weise erfolgen, wobei jedoch bei einer Bearbeitung, einer Datenbank oder einem Sammelwerk der Hinweis zumindest an gleicher Stelle und in ebenso auffälliger Weise zu erfolgen hat wie vergleichbare Hinweise auf andere Rechtsinhaber. 35 + 4. Obwohl die gemäss Ziffer 3 gewährten Nutzungsrechte in umfassender Weise 36 + ausgeübt werden dürfen, findet diese Erlaubnis ihre gesetzliche Grenze in 37 + den Persönlichkeitsrechten der Urheber und ausübenden Künstler, deren berechtigte geistige und persönliche Interessen bzw. deren Ansehen oder Ruf nicht dadurch gefährdet werden dürfen, dass ein Schutzgegenstand über das gesetzlich zulässige Maß hinaus beeinträchtigt wird. 38 + 39 +5. Gewährleistung. Sofern dies von den Vertragsparteien nicht anderweitig schriftlich vereinbart,, bietet der Lizenzgeber keine Gewährleistung für die erteilten Rechte, außer für den Fall, dass Mängel arglistig verschwiegen wurden. Für Mängel anderer Art, insbesondere bei der mangelhaften Lieferung von Verkörperungen des Schutzgegenstandes, richtet sich die Gewährleistung nach der Regelung, die die Person, die Ihnen den Schutzgegenstand zur Verfügung stellt, mit Ihnen außerhalb dieser Lizenz vereinbart, oder - wenn eine solche Regelung nicht getroffen wurde - nach den gesetzlichen Vorschriften. 40 + 41 +6. Haftung. Über die in Ziffer 5 genannte Gewährleistung hinaus haftet Ihnen der Lizenzgeber nur für Vorsatz und grobe Fahrlässigkeit. 42 + 43 +7. Vertragsende 44 + 45 + 1. Dieser Lizenzvertrag und die durch ihn eingeräumten Nutzungsrechte enden automatisch bei jeder Verletzung der Vertragsbedingungen durch Sie. Für natürliche und juristische Personen, die von Ihnen eine Bearbeitung, eine Datenbank oder ein Sammelwerk unter diesen Lizenzbedingungen erhalten haben, gilt die Lizenz jedoch weiter, vorausgesetzt, diese natürlichen oder juristischen Personen erfüllen sämtliche Vertragsbedingungen. Die Ziffern 1, 2, 5, 6, 7 und 8 gelten bei einer Vertragsbeendigung fort. 46 + 2. Unter den oben genannten Bedingungen erfolgt die Lizenz auf unbegrenzte Zeit (für die Dauer des Schutzrechts). Dennoch behält sich der Lizenzgeber das Recht vor, den Schutzgegenstand unter anderen Lizenzbedingungen zu nutzen oder die eigene Weitergabe des Schutzgegenstandes jederzeit zu beenden, vorausgesetzt, dass solche Handlungen nicht dem Widerruf dieser Lizenz dienen (oder jeder anderen Lizenzierung, die auf Grundlage dieser Lizenz erfolgt ist oder erfolgen muss) und diese Lizenz wirksam bleibt, bis Sie unter den oben genannten Voraussetzungen endet. 47 + 48 +8. Schlussbestimmungen 49 + 50 + 1. Jedes Mal, wenn Sie den Schutzgegenstand vervielfältigen, verbreiten oder öffentlich wiedergeben, bietet der Lizenzgeber dem Erwerber eine Lizenz für den Schutzgegenstand unter denselben Vertragsbedingungen an, unter denen er Ihnen die Lizenz eingeräumt hat. 51 + 2. Jedes Mal, wenn Sie eine Bearbeitung vervielfältigen, verbreiten oder öffentlich wiedergeben, bietet der Lizenzgeber dem Erwerber eine Lizenz für den ursprünglichen Schutzgegenstand unter denselben Vertragsbedingungen an, unter denen er Ihnen die Lizenz eingeräumt hat. 52 + 3. Sollte eine Bestimmung dieses Lizenzvertrages unwirksam sein, so wird die Wirksamkeit der übrigen Lizenzbestimmungen dadurch nicht berührt, und an die Stelle der unwirksamen Bestimmung tritt eine Ersatzregelung, die dem mit der unwirksamen Bestimmung angestrebten Zweck am nächsten kommt. 53 + 4. Nichts soll dahingehend ausgelegt werden, dass auf eine Bestimmung dieses Lizenzvertrages verzichtet oder einer Vertragsverletzung zugestimmt wird, so lange ein solcher Verzicht oder eine solche Zustimmung nicht schriftlich vorliegen und von der verzichtenden oder zustimmenden Vertragspartei unterschrieben sind 54 + 5. Dieser Lizenzvertrag stellt die vollständige Vereinbarung zwischen den Vertragsparteien hinsichtlich des Schutzgegenstandes dar. Es gibt keine weiteren ergänzenden Vereinbarungen oder mündlichen Abreden im Hinblick auf den Schutzgegenstand. Der Lizenzgeber ist an keine zusätzlichen Abreden gebunden, die aus irgendeiner Absprache mit Ihnen entstehen könnten. Der Lizenzvertrag kann nicht ohne eine übereinstimmende schriftliche Vereinbarung zwischen dem Lizenzgeber und Ihnen abgeändert werden. 55 + 6. Auf diesen Lizenzvertrag findet das Recht der Bundesrepublik Deutschland Anwendung.
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1 +Copyright (c) 2011, Cyreal (www.cyreal.org), 2 +with Reserved Font Name "Electrolize". 3 + 4 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 5 +This license is copied below, and is also available with a FAQ at: 6 +https://openfontlicense.org 7 + 8 + 9 +----------------------------------------------------------- 10 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 11 +----------------------------------------------------------- 12 + 13 +PREAMBLE 14 +The goals of the Open Font License (OFL) are to stimulate worldwide 15 +development of collaborative font projects, to support the font creation 16 +efforts of academic and linguistic communities, and to provide a free and 17 +open framework in which fonts may be shared and improved in partnership 18 +with others. 19 + 20 +The OFL allows the licensed fonts to be used, studied, modified and 21 +redistributed freely as long as they are not sold by themselves. The 22 +fonts, including any derivative works, can be bundled, embedded, 23 +redistributed and/or sold with any software provided that any reserved 24 +names are not used by derivative works. The fonts and derivatives, 25 +however, cannot be released under any other type of license. The 26 +requirement for fonts to remain under this license does not apply 27 +to any document created using the fonts or their derivatives. 28 + 29 +DEFINITIONS 30 +"Font Software" refers to the set of files released by the Copyright 31 +Holder(s) under this license and clearly marked as such. This may 32 +include source files, build scripts and documentation. 33 + 34 +"Reserved Font Name" refers to any names specified as such after the 35 +copyright statement(s). 36 + 37 +"Original Version" refers to the collection of Font Software components as 38 +distributed by the Copyright Holder(s). 39 + 40 +"Modified Version" refers to any derivative made by adding to, deleting, 41 +or substituting -- in part or in whole -- any of the components of the 42 +Original Version, by changing formats or by porting the Font Software to a 43 +new environment. 44 + 45 +"Author" refers to any designer, engineer, programmer, technical 46 +writer or other person who contributed to the Font Software. 47 + 48 +PERMISSION & CONDITIONS 49 +Permission is hereby granted, free of charge, to any person obtaining 50 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 51 +redistribute, and sell modified and unmodified copies of the Font 52 +Software, subject to the following conditions: 53 + 54 +1) Neither the Font Software nor any of its individual components, 55 +in Original or Modified Versions, may be sold by itself. 56 + 57 +2) Original or Modified Versions of the Font Software may be bundled, 58 +redistributed and/or sold with any software, provided that each copy 59 +contains the above copyright notice and this license. These can be 60 +included either as stand-alone text files, human-readable headers or 61 +in the appropriate machine-readable metadata fields within text or 62 +binary files as long as those fields can be easily viewed by the user. 63 + 64 +3) No Modified Version of the Font Software may use the Reserved Font 65 +Name(s) unless explicit written permission is granted by the corresponding 66 +Copyright Holder. This restriction only applies to the primary font name as 67 +presented to the users. 68 + 69 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 70 +Software shall not be used to promote, endorse or advertise any 71 +Modified Version, except to acknowledge the contribution(s) of the 72 +Copyright Holder(s) and the Author(s) or with their explicit written 73 +permission. 74 + 75 +5) The Font Software, modified or unmodified, in part or in whole, 76 +must be distributed entirely under this license, and must not be 77 +distributed under any other license. The requirement for fonts to 78 +remain under this license does not apply to any document created 79 +using the Font Software. 80 + 81 +TERMINATION 82 +This license becomes null and void if any of the above conditions are 83 +not met. 84 + 85 +DISCLAIMER 86 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 87 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 88 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 89 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 90 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 91 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 92 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 93 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 94 +OTHER DEALINGS IN THE FONT SOFTWARE.
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1 +Eine kurze deutsche Zusammenfassung der OFL finden Sie auf: 2 +http://de.wikipedia.org/wiki/SIL_Open_Font_License 3 + 4 + 5 + 6 +OFL FAQ - Frequently Asked Questions about the SIL Open Font License (OFL) 7 +Version 1.1-update1 - 31 March 2009 8 +(See http://scripts.sil.org/OFL for updates) 9 + 10 + 11 +1 ABOUT USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL 12 + 13 +1.1 Can I use the fonts in any publication, even embedded in the file? 14 +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. 15 + 16 +1.2 Can I make web pages using these fonts? 17 +Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended. Direct usage of fonts retrieved from a remote server - also referred to as font linking - using cross-platform open standards like @font-face is encouraged. This is considered to be use and distribution for which the OFL explicitly grants permission. The font file itself is not embedded in the webpage but referenced through a web address (i.e. a URI regardless of file format or access protocol) which will cause the browser to retrieve and use the corresponding font to render the webpage. This usage scenario is different from font embedding within a document (i.e. a PDF) where the font or some of its elements become part of the document. Note that embedding in a document is also permitted by the license as indicated in 1.1. (See 1.10 for details related to URL-based access restrictions methods or DRM mechanisms). 18 + 19 +1.3 Can I make the fonts available to others from my web site? 20 +Yes, as long as you meet the conditions of the license (do not sell by itself, include the necessary files, include the necessary copyright and license information, rename Modified Versions, do not abuse the Author(s)' name(s) and do not sublicense). In the case where you are hosting fonts to be served on the web, make sure the file contains the needed copyright notice(s) and licensing information in its metadata. Please double-check the accuracy of every field to prevent contradictory information. If you are making the font available for use via the @font-face open standard, putting this information in the standard font metadata fields is sufficient. Other font formats, including EOT and proposed superior alternatives, already provide fields for this information. 21 + 22 +1.4 Can the fonts be included with Free/Libre and Open Source Software collections such as GNU/Linux and BSD distributions? 23 +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. 24 + 25 +1.5 I want to distribute the fonts with my program. Does this mean my program also has to be free/libre and open source software? 26 +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. 27 + 28 +1.6 Can I include the fonts on a CD of freeware or commercial fonts? 29 +Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself. 30 + 31 +1.7 Can I sell a software package that includes these fonts? 32 +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. 33 + 34 +1.8 Why won't the OFL let me sell the fonts alone? 35 +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! 36 + 37 +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? 38 +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. 39 + 40 +1.10 What do you mean in condition 4? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement? 41 +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. 42 + 43 +1.11 Can Font Software released under the OFL be subject to URL-based access restrictions methods or DRM mechanisms? 44 +Yes, but these issues are out-of-scope for the OFL. The license itself neither encourages their use nor prohibits them since such mechanisms are not implemented in the components of the Font Software but through external software. Such restrictions are put in place for many different purposes corresponding to various usage scenarios. One common example is to limit potentially dangerous cross-site scripting attacks. However, in the spirit of libre/open fonts and unrestricted writing systems, we strongly encourage open sharing and reuse of OFL fonts, and the establishment of an environment where such restrictions are unnecessary. Note that whether you wish to use such mechanisms or you prefer not to, you must still abide by the rules set forth by the OFL when using fonts released by their authors under this license. Derivative fonts must be licensed under the OFL, even if they are part of a service for which you charge fees and/or for which access to source code is restricted. You may not sell the fonts on their own - they must be part of a larger software package or bundle. For example, even if the OFL font is distributed in a software package or via an online service using a DRM mechanism, the user would still have the right to extract that font, use, study, modify and redistribute it under the OFL. 45 + 46 +1.12 What about distributing fonts with a document? Within a compressed folder structure like an OpenDocument file (.odt) for example? Is it redistribution, bundling or embedding? 47 +The vast majority of the time, documents circulated in electronic form reference a font name which will match the corresponding font on the target system but do not carry the font within themselves. There may, however, be some cases where you need to bundle a font with the document. Certain document formats may allow the inclusion of an unmodified font within their file structure which consists of a compressed folder containing the various resources forming the document (such as pictures and thumbnails). Including fonts within such a structure is understood as being different from embedding but rather similar to bundling (or mere aggregation) for which the licensing makes explicit provision. In this case the font is conveyed unchanged whereas embedding a font transforms it from the original format. The OFL does not allow anyone to extract the font from such a structure to then redistribute it under another license. The explicit permission to redistribute and embed does not cancel the requirement for the Font Software to remain under the license chosen by its Author(s). 48 + 49 +1.13 If OFL fonts are extracted from a document in which they are embedded (such as a PDF file), what can be done with them? Is this a risk to Author(s)? 50 +The few utilities that can extract fonts embedded in a PDF will only output limited amounts of outlines - not a complete font. To create a working font from this method is much more difficult than finding the source of the original OFL font. So there is little chance that an OFL font would be extracted and redistributed inappropriately through this method. Even so, copyright laws address any misrepresentation of authorship. All Font Software released under the OFL and marked as such by the Author(s) is intended to remain under this license regardless of the distribution method, and cannot be redistributed under any other license. We strongly discourage any font extraction - we recommend directly using the font sources instead - but if you extract font outlines from a document please be considerate, use your common sense and respect the work of the Author(s) and the licensing model. 51 + 52 +1.14 What about sharing OFL fonts with friends on a CD, DVD or USB stick? 53 +You are very welcome to share open fonts with friends, family and colleagues on such removable media. Please make sure that you share and share-alike as much as possible from what the Author(s) released and that you don't strip away useful information which may not be present in the binary font files themselves. Just remember that in the case where you sell the font, it has to come bundled with software. 54 + 55 + 56 +2 ABOUT MODIFYING OFL LICENSED FONTS 57 + 58 +2.1 Can I change the fonts? Are there any limitations to what things I can and cannot change? 59 +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. 60 + 61 +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? 62 +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. 63 + 64 +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? 65 +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. 66 + 67 +2.4 Can I pay someone to enhance the fonts for my use and distribution? 68 +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. 69 + 70 +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? 71 +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. 72 + 73 +2.6 Do I have to make any derivative fonts (including extended source files, build scripts, documentation, etc.) publicly available? 74 +No, but please do share your improvements with others. You may find that you receive more than what you gave in return. 75 + 76 +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. 77 +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. 78 + 79 +2.8 What do you mean by "primary name as presented to the user"? Are you referring to the font menu name? 80 +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. 81 + 82 +2.9 Am I not allowed to use any part of the Reserved Font Names? 83 +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. 84 + 85 +2.10 So what should I, as an author, identify as Reserved Font Names? 86 +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". 87 + 88 +2.11 Do I, as an author, have to identify any Reserved Font Names? 89 +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. 90 + 91 +2.12 Are any names (such as the main font name) reserved by default? 92 +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). 93 + 94 +2.13 What is this FONTLOG thing exactly? 95 +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. 96 + 97 +2.14 Am I required to update the FONTLOG? 98 +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. 99 + 100 + 101 +3 ABOUT THE FONTLOG 102 + 103 +The FONTLOG can take a variety of formats, but should include these four sections: 104 + 105 +3.1 FONTLOG for <FontFamilyName> 106 +This file provides detailed information on the <FontFamilyName> Font Software. This information should be distributed along with the <FontFamilyName> fonts and any derivative works. 107 + 108 +3.2 Basic Font Information 109 +(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.) 110 + 111 +3.3 ChangeLog 112 +(This should list both major and minor changes, most recent first. Here are some examples:) 113 + 114 +7 February 2007 (Pat Johnson) <NewFontFamilyName> Version 1.3 115 +- Added Greek and Cyrillic glyphs 116 +- Released as "<NewFontFamilyName>" 117 + 118 +7 March 2006 (Fred Foobar) <NewFontFamilyName> Version 1.2 119 +- Tweaked contextual behaviours 120 +- Released as "<NewFontFamilyName>" 121 + 122 +1 Feb 2005 (Jane Doe) <NewFontFamilyName> Version 1.1 123 +- Improved build script performance and verbosity 124 +- Extended the smart code documentation 125 +- Corrected minor typos in the documentation 126 +- Fixed position of combining inverted breve below (U+032F) 127 +- Added OpenType/Graphite smart code for Armenian 128 +- Added Armenian glyphs (U+0531 -> U+0587) 129 +- Released as "<NewFontFamilyName>" 130 + 131 +1 Jan 2005 (Joe Smith) <FontFamilyName> Version 1.0 132 +- Initial release of font "<FontFamilyName>" 133 + 134 +3.4 Acknowledgements 135 +(Here is where contributors can be acknowledged. 136 + 137 +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.) 138 + 139 +N: Jane Doe 140 +E: jane@university.edu 141 +W: http://art.university.edu/projects/fonts 142 +D: Contributor - Armenian glyphs and code 143 + 144 +N: Fred Foobar 145 +E: fred@foobar.org 146 +W: http://foobar.org 147 +D: Contributor - misc Graphite fixes 148 + 149 +N: Pat Johnson 150 +E: pat@fontstudio.org 151 +W: http://pat.fontstudio.org 152 +D: Designer - Greek & Cyrillic glyphs based on Roman design 153 + 154 +N: Tom Parker 155 +E: tom@company.com 156 +W: http://www.company.com/tom/projects/fonts 157 +D: Engineer - original smart font code 158 + 159 +N: Joe Smith 160 +E: joe@fontstudio.org 161 +W: http://joe.fontstudio.org 162 +D: Designer - original Roman glyphs 163 + 164 +(Original authors can also include information here about their organization.) 165 + 166 + 167 +4 ABOUT MAKING CONTRIBUTIONS 168 + 169 +4.1 Why should I contribute my changes back to the original authors? 170 +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. 171 + 172 +4.2 I've made some very nice improvements to the font, will you consider adopting them and putting them into future Original Versions? 173 +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, mercurial, git 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. 174 + 175 +4.3 How can I financially support the development of OFL fonts? 176 +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. 177 + 178 +(In case of the font, that comes with this copy of the FAQ-file, you will find a paypal(tm) donation link on the fonts-page of www.peter-wiegel.de) 179 + 180 + 181 +5 ABOUT THE LICENSE 182 + 183 +5.1 I see that this is version 1.1 of the license. Will there be later changes? 184 +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. 185 + 186 +5.2 Can I use the SIL Open Font License for my own fonts? 187 +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. 188 + 189 +5.3 Does this license restrict the rights of the Copyright Holder(s)? 190 +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. 191 + 192 +5.4 Is the OFL a contract or a license? 193 +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. 194 + 195 +5.5 How about translating the license and the FAQ into other languages? 196 +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. 197 + 198 +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. 199 + 200 +We give permission to publish unofficial translations into other languages provided that they comply with the following guidelines: 201 + 202 +- put the following disclaimer in both English and the target language stating clearly that the translation is unofficial: 203 + 204 +"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. 205 + 206 +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. 207 + 208 +Please go to http://scripts.sil.org/OFL for the official version of the license and the accompanying FAQ." 209 + 210 +- 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. 211 + 212 +If you start such a unofficial translation effort of the OFL and its accompanying FAQ please let us know, thank you. 213 + 214 + 215 +6 ABOUT SIL INTERNATIONAL 216 + 217 +6.1 Who is SIL International and what does it do? 218 +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. 219 + 220 +6.2 What does this have to do with font licensing? 221 +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. 222 + 223 +6.3 How can I contact SIL? 224 +Our main web site is: http://www.sil.org/ 225 +Our site about complex scripts is: http://scripts.sil.org/ 226 +Information about this license (including contact email information) is at: http://scripts.sil.org/OFL 227 + 228 + 229 +7 ABOUT USING THE OFL FOR YOUR ORIGINAL FONTS 230 + 231 +If you want to release your fonts under the OFL, you only need to do the following: 232 + 233 +7.1 Put your copyright and reserved font names information in the beginning of the main OFL file (simply use the dedicated placeholders). 234 +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). Accurate metadata in your font files is beneficial to you as an increasing number of applications are exposing this information to the user. For example, clickable links can bring users back to your website and let them know about other work you have done or services you provide. Depending on the format of your fonts and sources, you can use template human-readable headers or machine-readable metadata. 235 +7.3 Write an initial FONTLOG for your font and include it in the release package. 236 +7.4 Include the OFL license file in your release package. 237 +7.5 We also highly recommend you include the relevant practical documentation on the license by putting the OFL-FAQ in your package. 238 +7.6 If you wish, you can use the OFL Graphics on your web page. 239 + 240 +That's all. If you have any more questions please get in touch with us. 241 + 242 +
1 +Copyright (c) 2010, Peter Wiegel, www.peter-wiegel.de, wiegel@peter-wiegel.de 2 +with Reserved Font Name "Eureka Krebs". 3 + 4 + 5 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 6 +This license is copied below, and is also available with a FAQ at: 7 +http://scripts.sil.org/OFL 8 + 9 + 10 +----------------------------------------------------------- 11 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 12 +----------------------------------------------------------- 13 + 14 +PREAMBLE 15 +The goals of the Open Font License (OFL) are to stimulate worldwide 16 +development of collaborative font projects, to support the font creation 17 +efforts of academic and linguistic communities, and to provide a free and 18 +open framework in which fonts may be shared and improved in partnership 19 +with others. 20 + 21 +The OFL allows the licensed fonts to be used, studied, modified and 22 +redistributed freely as long as they are not sold by themselves. The 23 +fonts, including any derivative works, can be bundled, embedded, 24 +redistributed and/or sold with any software provided that any reserved 25 +names are not used by derivative works. The fonts and derivatives, 26 +however, cannot be released under any other type of license. The 27 +requirement for fonts to remain under this license does not apply 28 +to any document created using the fonts or their derivatives. 29 + 30 +DEFINITIONS 31 +"Font Software" refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +"Reserved Font Name" refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +"Original Version" refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +"Modified Version" refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +"Author" refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 +PERMISSION & CONDITIONS 50 +Permission is hereby granted, free of charge, to any person obtaining 51 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 52 +redistribute, and sell modified and unmodified copies of the Font 53 +Software, subject to the following conditions: 54 + 55 +1) Neither the Font Software nor any of its individual components, 56 +in Original or Modified Versions, may be sold by itself. 57 + 58 +2) Original or Modified Versions of the Font Software may be bundled, 59 +redistributed and/or sold with any software, provided that each copy 60 +contains the above copyright notice and this license. These can be 61 +included either as stand-alone text files, human-readable headers or 62 +in the appropriate machine-readable metadata fields within text or 63 +binary files as long as those fields can be easily viewed by the user. 64 + 65 +3) No Modified Version of the Font Software may use the Reserved Font 66 +Name(s) unless explicit written permission is granted by the corresponding 67 +Copyright Holder. This restriction only applies to the primary font name as 68 +presented to the users. 69 + 70 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 71 +Software shall not be used to promote, endorse or advertise any 72 +Modified Version, except to acknowledge the contribution(s) of the 73 +Copyright Holder(s) and the Author(s) or with their explicit written 74 +permission. 75 + 76 +5) The Font Software, modified or unmodified, in part or in whole, 77 +must be distributed entirely under this license, and must not be 78 +distributed under any other license. The requirement for fonts to 79 +remain under this license does not apply to any document created 80 +using the Font Software. 81 + 82 +TERMINATION 83 +This license becomes null and void if any of the above conditions are 84 +not met. 85 + 86 +DISCLAIMER 87 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 88 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 89 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 90 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 91 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 92 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 93 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 94 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 95 +OTHER DEALINGS IN THE FONT SOFTWARE.
Binary files differ.
1 +Eine kurze deutsche Zusammenfassung der OFL finden Sie auf: 2 +http://de.wikipedia.org/wiki/SIL_Open_Font_License 3 + 4 + 5 + 6 +OFL FAQ - Frequently Asked Questions about the SIL Open Font License (OFL) 7 +Version 1.1-update1 - 31 March 2009 8 +(See http://scripts.sil.org/OFL for updates) 9 + 10 + 11 +1 ABOUT USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL 12 + 13 +1.1 Can I use the fonts in any publication, even embedded in the file? 14 +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. 15 + 16 +1.2 Can I make web pages using these fonts? 17 +Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended. Direct usage of fonts retrieved from a remote server - also referred to as font linking - using cross-platform open standards like @font-face is encouraged. This is considered to be use and distribution for which the OFL explicitly grants permission. The font file itself is not embedded in the webpage but referenced through a web address (i.e. a URI regardless of file format or access protocol) which will cause the browser to retrieve and use the corresponding font to render the webpage. This usage scenario is different from font embedding within a document (i.e. a PDF) where the font or some of its elements become part of the document. Note that embedding in a document is also permitted by the license as indicated in 1.1. (See 1.10 for details related to URL-based access restrictions methods or DRM mechanisms). 18 + 19 +1.3 Can I make the fonts available to others from my web site? 20 +Yes, as long as you meet the conditions of the license (do not sell by itself, include the necessary files, include the necessary copyright and license information, rename Modified Versions, do not abuse the Author(s)' name(s) and do not sublicense). In the case where you are hosting fonts to be served on the web, make sure the file contains the needed copyright notice(s) and licensing information in its metadata. Please double-check the accuracy of every field to prevent contradictory information. If you are making the font available for use via the @font-face open standard, putting this information in the standard font metadata fields is sufficient. Other font formats, including EOT and proposed superior alternatives, already provide fields for this information. 21 + 22 +1.4 Can the fonts be included with Free/Libre and Open Source Software collections such as GNU/Linux and BSD distributions? 23 +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. 24 + 25 +1.5 I want to distribute the fonts with my program. Does this mean my program also has to be free/libre and open source software? 26 +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. 27 + 28 +1.6 Can I include the fonts on a CD of freeware or commercial fonts? 29 +Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself. 30 + 31 +1.7 Can I sell a software package that includes these fonts? 32 +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. 33 + 34 +1.8 Why won't the OFL let me sell the fonts alone? 35 +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! 36 + 37 +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? 38 +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. 39 + 40 +1.10 What do you mean in condition 4? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement? 41 +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. 42 + 43 +1.11 Can Font Software released under the OFL be subject to URL-based access restrictions methods or DRM mechanisms? 44 +Yes, but these issues are out-of-scope for the OFL. The license itself neither encourages their use nor prohibits them since such mechanisms are not implemented in the components of the Font Software but through external software. Such restrictions are put in place for many different purposes corresponding to various usage scenarios. One common example is to limit potentially dangerous cross-site scripting attacks. However, in the spirit of libre/open fonts and unrestricted writing systems, we strongly encourage open sharing and reuse of OFL fonts, and the establishment of an environment where such restrictions are unnecessary. Note that whether you wish to use such mechanisms or you prefer not to, you must still abide by the rules set forth by the OFL when using fonts released by their authors under this license. Derivative fonts must be licensed under the OFL, even if they are part of a service for which you charge fees and/or for which access to source code is restricted. You may not sell the fonts on their own - they must be part of a larger software package or bundle. For example, even if the OFL font is distributed in a software package or via an online service using a DRM mechanism, the user would still have the right to extract that font, use, study, modify and redistribute it under the OFL. 45 + 46 +1.12 What about distributing fonts with a document? Within a compressed folder structure like an OpenDocument file (.odt) for example? Is it redistribution, bundling or embedding? 47 +The vast majority of the time, documents circulated in electronic form reference a font name which will match the corresponding font on the target system but do not carry the font within themselves. There may, however, be some cases where you need to bundle a font with the document. Certain document formats may allow the inclusion of an unmodified font within their file structure which consists of a compressed folder containing the various resources forming the document (such as pictures and thumbnails). Including fonts within such a structure is understood as being different from embedding but rather similar to bundling (or mere aggregation) for which the licensing makes explicit provision. In this case the font is conveyed unchanged whereas embedding a font transforms it from the original format. The OFL does not allow anyone to extract the font from such a structure to then redistribute it under another license. The explicit permission to redistribute and embed does not cancel the requirement for the Font Software to remain under the license chosen by its Author(s). 48 + 49 +1.13 If OFL fonts are extracted from a document in which they are embedded (such as a PDF file), what can be done with them? Is this a risk to Author(s)? 50 +The few utilities that can extract fonts embedded in a PDF will only output limited amounts of outlines - not a complete font. To create a working font from this method is much more difficult than finding the source of the original OFL font. So there is little chance that an OFL font would be extracted and redistributed inappropriately through this method. Even so, copyright laws address any misrepresentation of authorship. All Font Software released under the OFL and marked as such by the Author(s) is intended to remain under this license regardless of the distribution method, and cannot be redistributed under any other license. We strongly discourage any font extraction - we recommend directly using the font sources instead - but if you extract font outlines from a document please be considerate, use your common sense and respect the work of the Author(s) and the licensing model. 51 + 52 +1.14 What about sharing OFL fonts with friends on a CD, DVD or USB stick? 53 +You are very welcome to share open fonts with friends, family and colleagues on such removable media. Please make sure that you share and share-alike as much as possible from what the Author(s) released and that you don't strip away useful information which may not be present in the binary font files themselves. Just remember that in the case where you sell the font, it has to come bundled with software. 54 + 55 + 56 +2 ABOUT MODIFYING OFL LICENSED FONTS 57 + 58 +2.1 Can I change the fonts? Are there any limitations to what things I can and cannot change? 59 +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. 60 + 61 +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? 62 +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. 63 + 64 +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? 65 +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. 66 + 67 +2.4 Can I pay someone to enhance the fonts for my use and distribution? 68 +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. 69 + 70 +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? 71 +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. 72 + 73 +2.6 Do I have to make any derivative fonts (including extended source files, build scripts, documentation, etc.) publicly available? 74 +No, but please do share your improvements with others. You may find that you receive more than what you gave in return. 75 + 76 +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. 77 +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. 78 + 79 +2.8 What do you mean by "primary name as presented to the user"? Are you referring to the font menu name? 80 +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. 81 + 82 +2.9 Am I not allowed to use any part of the Reserved Font Names? 83 +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. 84 + 85 +2.10 So what should I, as an author, identify as Reserved Font Names? 86 +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". 87 + 88 +2.11 Do I, as an author, have to identify any Reserved Font Names? 89 +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. 90 + 91 +2.12 Are any names (such as the main font name) reserved by default? 92 +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). 93 + 94 +2.13 What is this FONTLOG thing exactly? 95 +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. 96 + 97 +2.14 Am I required to update the FONTLOG? 98 +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. 99 + 100 + 101 +3 ABOUT THE FONTLOG 102 + 103 +The FONTLOG can take a variety of formats, but should include these four sections: 104 + 105 +3.1 FONTLOG for <FontFamilyName> 106 +This file provides detailed information on the <FontFamilyName> Font Software. This information should be distributed along with the <FontFamilyName> fonts and any derivative works. 107 + 108 +3.2 Basic Font Information 109 +(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.) 110 + 111 +3.3 ChangeLog 112 +(This should list both major and minor changes, most recent first. Here are some examples:) 113 + 114 +7 February 2007 (Pat Johnson) <NewFontFamilyName> Version 1.3 115 +- Added Greek and Cyrillic glyphs 116 +- Released as "<NewFontFamilyName>" 117 + 118 +7 March 2006 (Fred Foobar) <NewFontFamilyName> Version 1.2 119 +- Tweaked contextual behaviours 120 +- Released as "<NewFontFamilyName>" 121 + 122 +1 Feb 2005 (Jane Doe) <NewFontFamilyName> Version 1.1 123 +- Improved build script performance and verbosity 124 +- Extended the smart code documentation 125 +- Corrected minor typos in the documentation 126 +- Fixed position of combining inverted breve below (U+032F) 127 +- Added OpenType/Graphite smart code for Armenian 128 +- Added Armenian glyphs (U+0531 -> U+0587) 129 +- Released as "<NewFontFamilyName>" 130 + 131 +1 Jan 2005 (Joe Smith) <FontFamilyName> Version 1.0 132 +- Initial release of font "<FontFamilyName>" 133 + 134 +3.4 Acknowledgements 135 +(Here is where contributors can be acknowledged. 136 + 137 +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.) 138 + 139 +N: Jane Doe 140 +E: jane@university.edu 141 +W: http://art.university.edu/projects/fonts 142 +D: Contributor - Armenian glyphs and code 143 + 144 +N: Fred Foobar 145 +E: fred@foobar.org 146 +W: http://foobar.org 147 +D: Contributor - misc Graphite fixes 148 + 149 +N: Pat Johnson 150 +E: pat@fontstudio.org 151 +W: http://pat.fontstudio.org 152 +D: Designer - Greek & Cyrillic glyphs based on Roman design 153 + 154 +N: Tom Parker 155 +E: tom@company.com 156 +W: http://www.company.com/tom/projects/fonts 157 +D: Engineer - original smart font code 158 + 159 +N: Joe Smith 160 +E: joe@fontstudio.org 161 +W: http://joe.fontstudio.org 162 +D: Designer - original Roman glyphs 163 + 164 +(Original authors can also include information here about their organization.) 165 + 166 + 167 +4 ABOUT MAKING CONTRIBUTIONS 168 + 169 +4.1 Why should I contribute my changes back to the original authors? 170 +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. 171 + 172 +4.2 I've made some very nice improvements to the font, will you consider adopting them and putting them into future Original Versions? 173 +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, mercurial, git 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. 174 + 175 +4.3 How can I financially support the development of OFL fonts? 176 +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. 177 + 178 +(In case of the font, that comes with this copy of the FAQ-file, you will find a paypal(tm) donation link on the fonts-page of www.peter-wiegel.de) 179 + 180 + 181 +5 ABOUT THE LICENSE 182 + 183 +5.1 I see that this is version 1.1 of the license. Will there be later changes? 184 +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. 185 + 186 +5.2 Can I use the SIL Open Font License for my own fonts? 187 +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. 188 + 189 +5.3 Does this license restrict the rights of the Copyright Holder(s)? 190 +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. 191 + 192 +5.4 Is the OFL a contract or a license? 193 +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. 194 + 195 +5.5 How about translating the license and the FAQ into other languages? 196 +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. 197 + 198 +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. 199 + 200 +We give permission to publish unofficial translations into other languages provided that they comply with the following guidelines: 201 + 202 +- put the following disclaimer in both English and the target language stating clearly that the translation is unofficial: 203 + 204 +"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. 205 + 206 +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. 207 + 208 +Please go to http://scripts.sil.org/OFL for the official version of the license and the accompanying FAQ." 209 + 210 +- 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. 211 + 212 +If you start such a unofficial translation effort of the OFL and its accompanying FAQ please let us know, thank you. 213 + 214 + 215 +6 ABOUT SIL INTERNATIONAL 216 + 217 +6.1 Who is SIL International and what does it do? 218 +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. 219 + 220 +6.2 What does this have to do with font licensing? 221 +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. 222 + 223 +6.3 How can I contact SIL? 224 +Our main web site is: http://www.sil.org/ 225 +Our site about complex scripts is: http://scripts.sil.org/ 226 +Information about this license (including contact email information) is at: http://scripts.sil.org/OFL 227 + 228 + 229 +7 ABOUT USING THE OFL FOR YOUR ORIGINAL FONTS 230 + 231 +If you want to release your fonts under the OFL, you only need to do the following: 232 + 233 +7.1 Put your copyright and reserved font names information in the beginning of the main OFL file (simply use the dedicated placeholders). 234 +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). Accurate metadata in your font files is beneficial to you as an increasing number of applications are exposing this information to the user. For example, clickable links can bring users back to your website and let them know about other work you have done or services you provide. Depending on the format of your fonts and sources, you can use template human-readable headers or machine-readable metadata. 235 +7.3 Write an initial FONTLOG for your font and include it in the release package. 236 +7.4 Include the OFL license file in your release package. 237 +7.5 We also highly recommend you include the relevant practical documentation on the license by putting the OFL-FAQ in your package. 238 +7.6 If you wish, you can use the OFL Graphics on your web page. 239 + 240 +That's all. If you have any more questions please get in touch with us. 241 + 242 +
1 +Copyright (c) 2009, Peter Wiegel, www.peter-wiegel.de, wiegel@peter-wiegel.de 2 +with Reserved Font Name "Eyechart" 3 + 4 + 5 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 6 +This license is copied below, and is also available with a FAQ at: 7 +http://scripts.sil.org/OFL 8 + 9 + 10 +----------------------------------------------------------- 11 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 12 +----------------------------------------------------------- 13 + 14 +PREAMBLE 15 +The goals of the Open Font License (OFL) are to stimulate worldwide 16 +development of collaborative font projects, to support the font creation 17 +efforts of academic and linguistic communities, and to provide a free and 18 +open framework in which fonts may be shared and improved in partnership 19 +with others. 20 + 21 +The OFL allows the licensed fonts to be used, studied, modified and 22 +redistributed freely as long as they are not sold by themselves. The 23 +fonts, including any derivative works, can be bundled, embedded, 24 +redistributed and/or sold with any software provided that any reserved 25 +names are not used by derivative works. The fonts and derivatives, 26 +however, cannot be released under any other type of license. The 27 +requirement for fonts to remain under this license does not apply 28 +to any document created using the fonts or their derivatives. 29 + 30 +DEFINITIONS 31 +"Font Software" refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +"Reserved Font Name" refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +"Original Version" refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +"Modified Version" refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +"Author" refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 +PERMISSION & CONDITIONS 50 +Permission is hereby granted, free of charge, to any person obtaining 51 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 52 +redistribute, and sell modified and unmodified copies of the Font 53 +Software, subject to the following conditions: 54 + 55 +1) Neither the Font Software nor any of its individual components, 56 +in Original or Modified Versions, may be sold by itself. 57 + 58 +2) Original or Modified Versions of the Font Software may be bundled, 59 +redistributed and/or sold with any software, provided that each copy 60 +contains the above copyright notice and this license. These can be 61 +included either as stand-alone text files, human-readable headers or 62 +in the appropriate machine-readable metadata fields within text or 63 +binary files as long as those fields can be easily viewed by the user. 64 + 65 +3) No Modified Version of the Font Software may use the Reserved Font 66 +Name(s) unless explicit written permission is granted by the corresponding 67 +Copyright Holder. This restriction only applies to the primary font name as 68 +presented to the users. 69 + 70 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 71 +Software shall not be used to promote, endorse or advertise any 72 +Modified Version, except to acknowledge the contribution(s) of the 73 +Copyright Holder(s) and the Author(s) or with their explicit written 74 +permission. 75 + 76 +5) The Font Software, modified or unmodified, in part or in whole, 77 +must be distributed entirely under this license, and must not be 78 +distributed under any other license. The requirement for fonts to 79 +remain under this license does not apply to any document created 80 +using the Font Software. 81 + 82 +TERMINATION 83 +This license becomes null and void if any of the above conditions are 84 +not met. 85 + 86 +DISCLAIMER 87 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 88 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 89 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 90 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 91 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 92 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 93 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 94 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 95 +OTHER DEALINGS IN THE FONT SOFTWARE.
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1 +Eine kurze deutsche Zusammenfassung der OFL finden Sie auf: 2 +http://de.wikipedia.org/wiki/SIL_Open_Font_License 3 + 4 + 5 + 6 +OFL FAQ - Frequently Asked Questions about the SIL Open Font License (OFL) 7 +Version 1.1-update1 - 31 March 2009 8 +(See http://scripts.sil.org/OFL for updates) 9 + 10 + 11 +1 ABOUT USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL 12 + 13 +1.1 Can I use the fonts in any publication, even embedded in the file? 14 +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. 15 + 16 +1.2 Can I make web pages using these fonts? 17 +Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended. Direct usage of fonts retrieved from a remote server - also referred to as font linking - using cross-platform open standards like @font-face is encouraged. This is considered to be use and distribution for which the OFL explicitly grants permission. The font file itself is not embedded in the webpage but referenced through a web address (i.e. a URI regardless of file format or access protocol) which will cause the browser to retrieve and use the corresponding font to render the webpage. This usage scenario is different from font embedding within a document (i.e. a PDF) where the font or some of its elements become part of the document. Note that embedding in a document is also permitted by the license as indicated in 1.1. (See 1.10 for details related to URL-based access restrictions methods or DRM mechanisms). 18 + 19 +1.3 Can I make the fonts available to others from my web site? 20 +Yes, as long as you meet the conditions of the license (do not sell by itself, include the necessary files, include the necessary copyright and license information, rename Modified Versions, do not abuse the Author(s)' name(s) and do not sublicense). In the case where you are hosting fonts to be served on the web, make sure the file contains the needed copyright notice(s) and licensing information in its metadata. Please double-check the accuracy of every field to prevent contradictory information. If you are making the font available for use via the @font-face open standard, putting this information in the standard font metadata fields is sufficient. Other font formats, including EOT and proposed superior alternatives, already provide fields for this information. 21 + 22 +1.4 Can the fonts be included with Free/Libre and Open Source Software collections such as GNU/Linux and BSD distributions? 23 +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. 24 + 25 +1.5 I want to distribute the fonts with my program. Does this mean my program also has to be free/libre and open source software? 26 +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. 27 + 28 +1.6 Can I include the fonts on a CD of freeware or commercial fonts? 29 +Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself. 30 + 31 +1.7 Can I sell a software package that includes these fonts? 32 +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. 33 + 34 +1.8 Why won't the OFL let me sell the fonts alone? 35 +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! 36 + 37 +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? 38 +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. 39 + 40 +1.10 What do you mean in condition 4? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement? 41 +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. 42 + 43 +1.11 Can Font Software released under the OFL be subject to URL-based access restrictions methods or DRM mechanisms? 44 +Yes, but these issues are out-of-scope for the OFL. The license itself neither encourages their use nor prohibits them since such mechanisms are not implemented in the components of the Font Software but through external software. Such restrictions are put in place for many different purposes corresponding to various usage scenarios. One common example is to limit potentially dangerous cross-site scripting attacks. However, in the spirit of libre/open fonts and unrestricted writing systems, we strongly encourage open sharing and reuse of OFL fonts, and the establishment of an environment where such restrictions are unnecessary. Note that whether you wish to use such mechanisms or you prefer not to, you must still abide by the rules set forth by the OFL when using fonts released by their authors under this license. Derivative fonts must be licensed under the OFL, even if they are part of a service for which you charge fees and/or for which access to source code is restricted. You may not sell the fonts on their own - they must be part of a larger software package or bundle. For example, even if the OFL font is distributed in a software package or via an online service using a DRM mechanism, the user would still have the right to extract that font, use, study, modify and redistribute it under the OFL. 45 + 46 +1.12 What about distributing fonts with a document? Within a compressed folder structure like an OpenDocument file (.odt) for example? Is it redistribution, bundling or embedding? 47 +The vast majority of the time, documents circulated in electronic form reference a font name which will match the corresponding font on the target system but do not carry the font within themselves. There may, however, be some cases where you need to bundle a font with the document. Certain document formats may allow the inclusion of an unmodified font within their file structure which consists of a compressed folder containing the various resources forming the document (such as pictures and thumbnails). Including fonts within such a structure is understood as being different from embedding but rather similar to bundling (or mere aggregation) for which the licensing makes explicit provision. In this case the font is conveyed unchanged whereas embedding a font transforms it from the original format. The OFL does not allow anyone to extract the font from such a structure to then redistribute it under another license. The explicit permission to redistribute and embed does not cancel the requirement for the Font Software to remain under the license chosen by its Author(s). 48 + 49 +1.13 If OFL fonts are extracted from a document in which they are embedded (such as a PDF file), what can be done with them? Is this a risk to Author(s)? 50 +The few utilities that can extract fonts embedded in a PDF will only output limited amounts of outlines - not a complete font. To create a working font from this method is much more difficult than finding the source of the original OFL font. So there is little chance that an OFL font would be extracted and redistributed inappropriately through this method. Even so, copyright laws address any misrepresentation of authorship. All Font Software released under the OFL and marked as such by the Author(s) is intended to remain under this license regardless of the distribution method, and cannot be redistributed under any other license. We strongly discourage any font extraction - we recommend directly using the font sources instead - but if you extract font outlines from a document please be considerate, use your common sense and respect the work of the Author(s) and the licensing model. 51 + 52 +1.14 What about sharing OFL fonts with friends on a CD, DVD or USB stick? 53 +You are very welcome to share open fonts with friends, family and colleagues on such removable media. Please make sure that you share and share-alike as much as possible from what the Author(s) released and that you don't strip away useful information which may not be present in the binary font files themselves. Just remember that in the case where you sell the font, it has to come bundled with software. 54 + 55 + 56 +2 ABOUT MODIFYING OFL LICENSED FONTS 57 + 58 +2.1 Can I change the fonts? Are there any limitations to what things I can and cannot change? 59 +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. 60 + 61 +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? 62 +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. 63 + 64 +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? 65 +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. 66 + 67 +2.4 Can I pay someone to enhance the fonts for my use and distribution? 68 +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. 69 + 70 +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? 71 +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. 72 + 73 +2.6 Do I have to make any derivative fonts (including extended source files, build scripts, documentation, etc.) publicly available? 74 +No, but please do share your improvements with others. You may find that you receive more than what you gave in return. 75 + 76 +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. 77 +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. 78 + 79 +2.8 What do you mean by "primary name as presented to the user"? Are you referring to the font menu name? 80 +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. 81 + 82 +2.9 Am I not allowed to use any part of the Reserved Font Names? 83 +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. 84 + 85 +2.10 So what should I, as an author, identify as Reserved Font Names? 86 +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". 87 + 88 +2.11 Do I, as an author, have to identify any Reserved Font Names? 89 +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. 90 + 91 +2.12 Are any names (such as the main font name) reserved by default? 92 +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). 93 + 94 +2.13 What is this FONTLOG thing exactly? 95 +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. 96 + 97 +2.14 Am I required to update the FONTLOG? 98 +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. 99 + 100 + 101 +3 ABOUT THE FONTLOG 102 + 103 +The FONTLOG can take a variety of formats, but should include these four sections: 104 + 105 +3.1 FONTLOG for <FontFamilyName> 106 +This file provides detailed information on the <FontFamilyName> Font Software. This information should be distributed along with the <FontFamilyName> fonts and any derivative works. 107 + 108 +3.2 Basic Font Information 109 +(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.) 110 + 111 +3.3 ChangeLog 112 +(This should list both major and minor changes, most recent first. Here are some examples:) 113 + 114 +7 February 2007 (Pat Johnson) <NewFontFamilyName> Version 1.3 115 +- Added Greek and Cyrillic glyphs 116 +- Released as "<NewFontFamilyName>" 117 + 118 +7 March 2006 (Fred Foobar) <NewFontFamilyName> Version 1.2 119 +- Tweaked contextual behaviours 120 +- Released as "<NewFontFamilyName>" 121 + 122 +1 Feb 2005 (Jane Doe) <NewFontFamilyName> Version 1.1 123 +- Improved build script performance and verbosity 124 +- Extended the smart code documentation 125 +- Corrected minor typos in the documentation 126 +- Fixed position of combining inverted breve below (U+032F) 127 +- Added OpenType/Graphite smart code for Armenian 128 +- Added Armenian glyphs (U+0531 -> U+0587) 129 +- Released as "<NewFontFamilyName>" 130 + 131 +1 Jan 2005 (Joe Smith) <FontFamilyName> Version 1.0 132 +- Initial release of font "<FontFamilyName>" 133 + 134 +3.4 Acknowledgements 135 +(Here is where contributors can be acknowledged. 136 + 137 +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.) 138 + 139 +N: Jane Doe 140 +E: jane@university.edu 141 +W: http://art.university.edu/projects/fonts 142 +D: Contributor - Armenian glyphs and code 143 + 144 +N: Fred Foobar 145 +E: fred@foobar.org 146 +W: http://foobar.org 147 +D: Contributor - misc Graphite fixes 148 + 149 +N: Pat Johnson 150 +E: pat@fontstudio.org 151 +W: http://pat.fontstudio.org 152 +D: Designer - Greek & Cyrillic glyphs based on Roman design 153 + 154 +N: Tom Parker 155 +E: tom@company.com 156 +W: http://www.company.com/tom/projects/fonts 157 +D: Engineer - original smart font code 158 + 159 +N: Joe Smith 160 +E: joe@fontstudio.org 161 +W: http://joe.fontstudio.org 162 +D: Designer - original Roman glyphs 163 + 164 +(Original authors can also include information here about their organization.) 165 + 166 + 167 +4 ABOUT MAKING CONTRIBUTIONS 168 + 169 +4.1 Why should I contribute my changes back to the original authors? 170 +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. 171 + 172 +4.2 I've made some very nice improvements to the font, will you consider adopting them and putting them into future Original Versions? 173 +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, mercurial, git 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. 174 + 175 +4.3 How can I financially support the development of OFL fonts? 176 +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. 177 + 178 +(In case of the font, that comes with this copy of the FAQ-file, you will find a paypal(tm) donation link on the fonts-page of www.peter-wiegel.de) 179 + 180 + 181 +5 ABOUT THE LICENSE 182 + 183 +5.1 I see that this is version 1.1 of the license. Will there be later changes? 184 +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. 185 + 186 +5.2 Can I use the SIL Open Font License for my own fonts? 187 +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. 188 + 189 +5.3 Does this license restrict the rights of the Copyright Holder(s)? 190 +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. 191 + 192 +5.4 Is the OFL a contract or a license? 193 +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. 194 + 195 +5.5 How about translating the license and the FAQ into other languages? 196 +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. 197 + 198 +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. 199 + 200 +We give permission to publish unofficial translations into other languages provided that they comply with the following guidelines: 201 + 202 +- put the following disclaimer in both English and the target language stating clearly that the translation is unofficial: 203 + 204 +"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. 205 + 206 +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. 207 + 208 +Please go to http://scripts.sil.org/OFL for the official version of the license and the accompanying FAQ." 209 + 210 +- 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. 211 + 212 +If you start such a unofficial translation effort of the OFL and its accompanying FAQ please let us know, thank you. 213 + 214 + 215 +6 ABOUT SIL INTERNATIONAL 216 + 217 +6.1 Who is SIL International and what does it do? 218 +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. 219 + 220 +6.2 What does this have to do with font licensing? 221 +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. 222 + 223 +6.3 How can I contact SIL? 224 +Our main web site is: http://www.sil.org/ 225 +Our site about complex scripts is: http://scripts.sil.org/ 226 +Information about this license (including contact email information) is at: http://scripts.sil.org/OFL 227 + 228 + 229 +7 ABOUT USING THE OFL FOR YOUR ORIGINAL FONTS 230 + 231 +If you want to release your fonts under the OFL, you only need to do the following: 232 + 233 +7.1 Put your copyright and reserved font names information in the beginning of the main OFL file (simply use the dedicated placeholders). 234 +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). Accurate metadata in your font files is beneficial to you as an increasing number of applications are exposing this information to the user. For example, clickable links can bring users back to your website and let them know about other work you have done or services you provide. Depending on the format of your fonts and sources, you can use template human-readable headers or machine-readable metadata. 235 +7.3 Write an initial FONTLOG for your font and include it in the release package. 236 +7.4 Include the OFL license file in your release package. 237 +7.5 We also highly recommend you include the relevant practical documentation on the license by putting the OFL-FAQ in your package. 238 +7.6 If you wish, you can use the OFL Graphics on your web page. 239 + 240 +That's all. If you have any more questions please get in touch with us. 241 + 242 +
1 +Copyright (c) 2012, Peter Wiegel, www.peter-wiegel.de, wiegel@peter-wiegel.de 2 +with Reserved Font Immermann 3 + 4 + 5 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 6 +This license is copied below, and is also available with a FAQ at: 7 +http://scripts.sil.org/OFL 8 + 9 + 10 +----------------------------------------------------------- 11 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 12 +----------------------------------------------------------- 13 + 14 +PREAMBLE 15 +The goals of the Open Font License (OFL) are to stimulate worldwide 16 +development of collaborative font projects, to support the font creation 17 +efforts of academic and linguistic communities, and to provide a free and 18 +open framework in which fonts may be shared and improved in partnership 19 +with others. 20 + 21 +The OFL allows the licensed fonts to be used, studied, modified and 22 +redistributed freely as long as they are not sold by themselves. The 23 +fonts, including any derivative works, can be bundled, embedded, 24 +redistributed and/or sold with any software provided that any reserved 25 +names are not used by derivative works. The fonts and derivatives, 26 +however, cannot be released under any other type of license. The 27 +requirement for fonts to remain under this license does not apply 28 +to any document created using the fonts or their derivatives. 29 + 30 +DEFINITIONS 31 +"Font Software" refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +"Reserved Font Name" refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +"Original Version" refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +"Modified Version" refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +"Author" refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 +PERMISSION & CONDITIONS 50 +Permission is hereby granted, free of charge, to any person obtaining 51 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 52 +redistribute, and sell modified and unmodified copies of the Font 53 +Software, subject to the following conditions: 54 + 55 +1) Neither the Font Software nor any of its individual components, 56 +in Original or Modified Versions, may be sold by itself. 57 + 58 +2) Original or Modified Versions of the Font Software may be bundled, 59 +redistributed and/or sold with any software, provided that each copy 60 +contains the above copyright notice and this license. These can be 61 +included either as stand-alone text files, human-readable headers or 62 +in the appropriate machine-readable metadata fields within text or 63 +binary files as long as those fields can be easily viewed by the user. 64 + 65 +3) No Modified Version of the Font Software may use the Reserved Font 66 +Name(s) unless explicit written permission is granted by the corresponding 67 +Copyright Holder. This restriction only applies to the primary font name as 68 +presented to the users. 69 + 70 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 71 +Software shall not be used to promote, endorse or advertise any 72 +Modified Version, except to acknowledge the contribution(s) of the 73 +Copyright Holder(s) and the Author(s) or with their explicit written 74 +permission. 75 + 76 +5) The Font Software, modified or unmodified, in part or in whole, 77 +must be distributed entirely under this license, and must not be 78 +distributed under any other license. The requirement for fonts to 79 +remain under this license does not apply to any document created 80 +using the Font Software. 81 + 82 +TERMINATION 83 +This license becomes null and void if any of the above conditions are 84 +not met. 85 + 86 +DISCLAIMER 87 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 88 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 89 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 90 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 91 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 92 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 93 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 94 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 95 +OTHER DEALINGS IN THE FONT SOFTWARE.
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1 +Copyright (c) 2014, Peter Wiegel (Font) (http://www.peter-wiegel.de/), 2 + 3 +with Reserved Font Name „Indira K“. 4 + 5 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 6 +This license is copied below, and is also available with a FAQ at: 7 +http://scripts.sil.org/OFL 8 + 9 + 10 +----------------------------------------------------------- 11 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 12 +----------------------------------------------------------- 13 + 14 +PREAMBLE 15 +The goals of the Open Font License (OFL) are to stimulate worldwide 16 +development of collaborative font projects, to support the font creation 17 +efforts of academic and linguistic communities, and to provide a free and 18 +open framework in which fonts may be shared and improved in partnership 19 +with others. 20 + 21 +The OFL allows the licensed fonts to be used, studied, modified and 22 +redistributed freely as long as they are not sold by themselves. The 23 +fonts, including any derivative works, can be bundled, embedded, 24 +redistributed and/or sold with any software provided that any reserved 25 +names are not used by derivative works. The fonts and derivatives, 26 +however, cannot be released under any other type of license. The 27 +requirement for fonts to remain under this license does not apply 28 +to any document created using the fonts or their derivatives. 29 + 30 +DEFINITIONS 31 +"Font Software" refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +"Reserved Font Name" refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +"Original Version" refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +"Modified Version" refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +"Author" refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 +PERMISSION & CONDITIONS 50 +Permission is hereby granted, free of charge, to any person obtaining 51 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 52 +redistribute, and sell modified and unmodified copies of the Font 53 +Software, subject to the following conditions: 54 + 55 +1) Neither the Font Software nor any of its individual components, 56 +in Original or Modified Versions, may be sold by itself. 57 + 58 +2) Original or Modified Versions of the Font Software may be bundled, 59 +redistributed and/or sold with any software, provided that each copy 60 +contains the above copyright notice and this license. These can be 61 +included either as stand-alone text files, human-readable headers or 62 +in the appropriate machine-readable metadata fields within text or 63 +binary files as long as those fields can be easily viewed by the user. 64 + 65 +3) No Modified Version of the Font Software may use the Reserved Font 66 +Name(s) unless explicit written permission is granted by the corresponding 67 +Copyright Holder. This restriction only applies to the primary font name as 68 +presented to the users. 69 + 70 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 71 +Software shall not be used to promote, endorse or advertise any 72 +Modified Version, except to acknowledge the contribution(s) of the 73 +Copyright Holder(s) and the Author(s) or with their explicit written 74 +permission. 75 + 76 +5) The Font Software, modified or unmodified, in part or in whole, 77 +must be distributed entirely under this license, and must not be 78 +distributed under any other license. The requirement for fonts to 79 +remain under this license does not apply to any document created 80 +using the Font Software. 81 + 82 +TERMINATION 83 +This license becomes null and void if any of the above conditions are 84 +not met. 85 + 86 +DISCLAIMER 87 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 88 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 89 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 90 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 91 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 92 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 93 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 94 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 95 +OTHER DEALINGS IN THE FONT SOFTWARE.
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1 +Copyright 2022 The Instrument Serif Project Authors (https://github.com/Instrument/instrument-serif) 2 + 3 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 4 +This license is copied below, and is also available with a FAQ at: 5 +https://openfontlicense.org 6 + 7 + 8 +----------------------------------------------------------- 9 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 10 +----------------------------------------------------------- 11 + 12 +PREAMBLE 13 +The goals of the Open Font License (OFL) are to stimulate worldwide 14 +development of collaborative font projects, to support the font creation 15 +efforts of academic and linguistic communities, and to provide a free and 16 +open framework in which fonts may be shared and improved in partnership 17 +with others. 18 + 19 +The OFL allows the licensed fonts to be used, studied, modified and 20 +redistributed freely as long as they are not sold by themselves. The 21 +fonts, including any derivative works, can be bundled, embedded, 22 +redistributed and/or sold with any software provided that any reserved 23 +names are not used by derivative works. The fonts and derivatives, 24 +however, cannot be released under any other type of license. The 25 +requirement for fonts to remain under this license does not apply 26 +to any document created using the fonts or their derivatives. 27 + 28 +DEFINITIONS 29 +"Font Software" refers to the set of files released by the Copyright 30 +Holder(s) under this license and clearly marked as such. This may 31 +include source files, build scripts and documentation. 32 + 33 +"Reserved Font Name" refers to any names specified as such after the 34 +copyright statement(s). 35 + 36 +"Original Version" refers to the collection of Font Software components as 37 +distributed by the Copyright Holder(s). 38 + 39 +"Modified Version" refers to any derivative made by adding to, deleting, 40 +or substituting -- in part or in whole -- any of the components of the 41 +Original Version, by changing formats or by porting the Font Software to a 42 +new environment. 43 + 44 +"Author" refers to any designer, engineer, programmer, technical 45 +writer or other person who contributed to the Font Software. 46 + 47 +PERMISSION & CONDITIONS 48 +Permission is hereby granted, free of charge, to any person obtaining 49 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 50 +redistribute, and sell modified and unmodified copies of the Font 51 +Software, subject to the following conditions: 52 + 53 +1) Neither the Font Software nor any of its individual components, 54 +in Original or Modified Versions, may be sold by itself. 55 + 56 +2) Original or Modified Versions of the Font Software may be bundled, 57 +redistributed and/or sold with any software, provided that each copy 58 +contains the above copyright notice and this license. These can be 59 +included either as stand-alone text files, human-readable headers or 60 +in the appropriate machine-readable metadata fields within text or 61 +binary files as long as those fields can be easily viewed by the user. 62 + 63 +3) No Modified Version of the Font Software may use the Reserved Font 64 +Name(s) unless explicit written permission is granted by the corresponding 65 +Copyright Holder. This restriction only applies to the primary font name as 66 +presented to the users. 67 + 68 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 69 +Software shall not be used to promote, endorse or advertise any 70 +Modified Version, except to acknowledge the contribution(s) of the 71 +Copyright Holder(s) and the Author(s) or with their explicit written 72 +permission. 73 + 74 +5) The Font Software, modified or unmodified, in part or in whole, 75 +must be distributed entirely under this license, and must not be 76 +distributed under any other license. The requirement for fonts to 77 +remain under this license does not apply to any document created 78 +using the Font Software. 79 + 80 +TERMINATION 81 +This license becomes null and void if any of the above conditions are 82 +not met. 83 + 84 +DISCLAIMER 85 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 86 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 87 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 88 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 89 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 90 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 91 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 92 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 93 +OTHER DEALINGS IN THE FONT SOFTWARE.
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1 +OFL FAQ - Frequently Asked Questions about the SIL Open Font License (OFL) 2 +Version 1.1-update3 - Sept 2013 3 +(See http://scripts.sil.org/OFL for updates) 4 + 5 + 6 +CONTENTS OF THIS FAQ 7 +1 USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL 8 +2 USING OFL FONTS FOR WEB PAGES AND ONLINE WEB FONT SERVICES 9 +3 MODIFYING OFL-LICENSED FONTS 10 +4 LICENSING YOUR ORIGINAL FONTS UNDER THE OFL 11 +5 CHOOSING RESERVED FONT NAMES 12 +6 ABOUT THE FONTLOG 13 +7 MAKING CONTRIBUTIONS TO OFL PROJECTS 14 +8 ABOUT THE LICENSE ITSELF 15 +9 ABOUT SIL INTERNATIONAL 16 +APPENDIX A - FONTLOG EXAMPLE 17 + 18 +1 USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL 19 + 20 +1.1 Can I use the fonts for a book or other print publication, to create logos or other graphics or even to manufacture objects based on their outlines? 21 +Yes. You are very welcome to do so. Authors of fonts released under the OFL allow you to use their font software as such for any kind of design work. No additional license or permission is required, unlike with some other licenses. Some examples of these uses are: logos, posters, business cards, stationery, video titling, signage, t-shirts, personalised fabric, 3D-printed/laser-cut shapes, sculptures, rubber stamps, cookie cutters and lead type. 22 + 23 +1.1.1 Does that restrict the license or distribution of that artwork? 24 +No. You remain the author and copyright holder of that newly derived graphic or object. You are simply using an open font in the design process. It is only when you redistribute, bundle or modify the font itself that other conditions of the license have to be respected (see below for more details). 25 + 26 +1.1.2 Is any kind of acknowledgement required? 27 +No. Font authors may appreciate being mentioned in your artwork's acknowledgements alongside the name of the font, possibly with a link to their website, but that is not required. 28 + 29 +1.2 Can the fonts be included with Free/Libre and Open Source Software collections such as GNU/Linux and BSD distributions and repositories? 30 +Yes! Fonts licensed under the OFL can be freely included alongside other software under FLOSS (Free/Libre and Open Source Software) licenses. Since fonts are typically aggregated with, not merged into, existing software, there is little need to be concerned about incompatibility with existing software licenses. You may also repackage the fonts and the accompanying components in a .rpm or .deb package (or other similar package formats or installers) and include them in distribution CD/DVDs and online repositories. (Also see section 5.9 about rebuilding from source.) 31 + 32 +1.3 I want to distribute the fonts with my program. Does this mean my program also has to be Free/Libre and Open Source Software? 33 +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. 34 + 35 +1.4 Can I sell a software package that includes these fonts? 36 +Yes, you can do this with both the Original Version and a Modified Version of the fonts. Examples of bundling made possible by the OFL would include: word processors, design and publishing applications, training and educational software, games and entertainment software, mobile device applications, etc. 37 + 38 +1.5 Can I include the fonts on a CD of freeware or commercial fonts? 39 +Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself. 40 + 41 +1.6 Why won't the OFL let me sell the fonts alone? 42 +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 honour and respect their contribution! 43 + 44 +1.7 What about sharing OFL fonts with friends on a CD, DVD or USB stick? 45 +You are very welcome to share open fonts with friends, family and colleagues through removable media. Just remember to include the full font package, including any copyright notices and licensing information as available in OFL.txt. In the case where you sell the font, it has to come bundled with software. 46 + 47 +1.8 Can I host the fonts on a web site for others to use? 48 +Yes, as long as you make the full font package available. In most cases it may be best to point users to the main site that distributes the Original Version so they always get the most recent stable and complete version. See also discussion of web fonts in Section 2. 49 + 50 +1.9 Can I host the fonts on a server for use over our internal network? 51 +Yes. If the fonts are transferred from the server to the client computer by means that allow them to be used even if the computer is no longer attached to the network, the full package (copyright notices, licensing information, etc.) should be included. 52 + 53 +1.10 Does the full OFL license text always need to accompany the font? 54 +The only situation in which an OFL font can be distributed without the text of the OFL (either in a separate file or in font metadata), is when a font is embedded in a document or bundled within a program. In the case of metadata included within a font, it is legally sufficient to include only a link to the text of the OFL on http://scripts.sil.org/OFL, but we strongly recommend against this. Most modern font formats include metadata fields that will accept the full OFL text, and full inclusion increases the likelihood that users will understand and properly apply the license. 55 + 56 +1.11 What do you mean by 'embedding'? How does that differ from other means of distribution? 57 +By 'embedding' we mean inclusion of the font in a document or file in a way that makes extraction (and redistribution) difficult or clearly discouraged. In many cases the names of embedded fonts might also not be obvious to those reading the document, the font data format might be altered, and only a subset of the font - only the glyphs required for the text - might be included. Any other means of delivering a font to another person is considered 'distribution', and needs to be accompanied by any copyright notices and licensing information available in OFL.txt. 58 + 59 +1.12 So can I embed OFL fonts in my document? 60 +Yes, either in full or a subset. The restrictions regarding font modification and redistribution do not apply, as the font is not intended for use outside the document. 61 + 62 +1.13 Does embedding alter the license of the document itself? 63 +No. 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. 64 + 65 +1.14 If OFL fonts are extracted from a document in which they are embedded (such as a PDF file), what can be done with them? Is this a risk to author(s)? 66 +The few utilities that can extract fonts embedded in a PDF will typically output limited amounts of outlines - not a complete font. To create a working font from this method is much more difficult and time consuming than finding the source of the original OFL font. So there is little chance that an OFL font would be extracted and redistributed inappropriately through this method. Even so, copyright laws address any misrepresentation of authorship. All Font Software released under the OFL and marked as such by the author(s) is intended to remain under this license regardless of the distribution method, and cannot be redistributed under any other license. We strongly discourage any font extraction - we recommend directly using the font sources instead - but if you extract font outlines from a document, please be considerate: respect the work of the author(s) and the licensing model. 67 + 68 +1.15 What about distributing fonts with a document? Within a compressed folder structure? Is it distribution, bundling or embedding? 69 +Certain document formats may allow the inclusion of an unmodified font within their file structure which may consist of a compressed folder containing the various resources forming the document (such as pictures and thumbnails). Including fonts within such a structure is understood as being different from embedding but rather similar to bundling (or mere aggregation) which the license explicitly allows. In this case the font is conveyed unchanged whereas embedding a font usually transforms it from the original format. The OFL does not allow anyone to extract the font from such a structure to then redistribute it under another license. The explicit permission to redistribute and embed does not cancel the requirement for the Font Software to remain under the license chosen by its author(s). Even if the font travels inside the document as one of its assets, it should not lose its authorship information and licensing. 70 + 71 +1.16 What about ebooks shipping with open fonts? 72 +The requirements differ depending on whether the fonts are linked, embedded or distributed (bundled or aggregated). Some ebook formats use web technologies to do font linking via @font-face, others are designed for font embedding, some use fonts distributed with the document or reading software, and a few rely solely on the fonts already present on the target system. The license requirements depend on the type of inclusion as discussed in 1.15. 73 + 74 +1.17 Can Font Software released under the OFL be subject to URL-based access restrictions methods or DRM (Digital Rights Management) mechanisms? 75 +Yes, but these issues are out-of-scope for the OFL. The license itself neither encourages their use nor prohibits them since such mechanisms are not implemented in the components of the Font Software but through external software. Such restrictions are put in place for many different purposes corresponding to various usage scenarios. One common example is to limit potentially dangerous cross-site scripting attacks. However, in the spirit of libre/open fonts and unrestricted writing systems, we strongly encourage open sharing and reuse of OFL fonts, and the establishment of an environment where such restrictions are unnecessary. Note that whether you wish to use such mechanisms or you prefer not to, you must still abide by the rules set forth by the OFL when using fonts released by their authors under this license. Derivative fonts must be licensed under the OFL, even if they are part of a service for which you charge fees and/or for which access to source code is restricted. You may not sell the fonts on their own - they must be part of a larger software package, bundle or subscription plan. For example, even if the OFL font is distributed in a software package or via an online service using a DRM mechanism, the user would still have the right to extract that font, use, study, modify and redistribute it under the OFL. 76 + 77 +1.18 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? 78 +Consult the copyright statement(s) in the license for ways to contact the original authors. Consult the FONTLOG (see section 6 for more details and examples) for information on how the font differs from the Original Version, and get in touch with the various contributors via the information in the acknowledgement section. Please consider using the Original Versions of the fonts whenever possible. 79 + 80 +1.19 What do you mean in condition 4 of the OFL's permissions and conditions? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement? 81 +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 grey 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. 82 + 83 +1.20 I'm writing a small app for mobile platforms, do I need to include the whole package? 84 +If you bundle a font under the OFL with your mobile app you must comply with the terms of the license. At a minimum you must include the copyright statement, the license notice and the license text. A mention of this information in your About box or Changelog, with a link to where the font package is from, is good practice, and the extra space needed to carry these items is very small. You do not, however, need to include the full contents of the font package - only the fonts you use and the copyright and license that apply to them. For example, if you only use the regular weight in your app, you do not need to include the italic and bold versions. 85 + 86 +1.21 What about including OFL fonts by default in my firmware or dedicated operating system? 87 +Many such systems are restricted and turned into appliances so that users cannot study or modify them. Using open fonts to increase quality and language coverage is a great idea, but you need to be aware that if there is a way for users to extract fonts you cannot legally prevent them from doing that. The fonts themselves, including any changes you make to them, must be distributed under the OFL even if your firmware has a more restrictive license. If you do transform the fonts and change their formats when you include them in your firmware you must respect any names reserved by the font authors via the RFN mechanism and pick your own font name. Alternatively if you directly add a font under the OFL to the font folder of your firmware without modifying or optimizing it you are simply bundling the font like with any other software collection, and do not need to make any further changes. 88 + 89 +1.22 Can I make and publish CMS themes or templates that use OFL fonts? Can I include the fonts themselves in the themes or templates? Can I sell the whole package? 90 +Yes, you are very welcome to integrate open fonts into themes and templates for your preferred CMS and make them more widely available. Remember that you can only sell the fonts and your CMS add-on as part of a software bundle. (See 1.4 for details and examples about selling bundles). 91 + 92 +1.23 Can OFL fonts be included in services that deliver fonts to the desktop from remote repositories? Even if they contain both OFL and non-OFL fonts? 93 +Yes. Some foundries have set up services to deliver fonts to subscribers directly to desktops from their online repositories; similarly, plugins are available to preview and use fonts directly in your design tool or publishing suite. These services may mix open and restricted fonts in the same channel, however they should make a clear distinction between them to users. These services should also not hinder users (such as through DRM or obfuscation mechanisms) from extracting and using the OFL fonts in other environments, or continuing to use OFL fonts after subscription terms have ended, as those uses are specifically allowed by the OFL. 94 + 95 +1.24 Can services that provide or distribute OFL fonts restrict my use of them? 96 +No. The terms of use of such services cannot replace or restrict the terms of the OFL, as that would be the same as distributing the fonts under a different license, which is not allowed. You are still entitled to use, modify and redistribute them as the original authors have intended outside of the sole control of that particular distribution channel. Note, however, that the fonts provided by these services may differ from the Original Versions. 97 + 98 + 99 +2 USING OFL FONTS FOR WEBPAGES AND ONLINE WEB FONT SERVICES 100 + 101 +NOTE: This section often refers to a separate paper on 'Web Fonts & RFNs'. This is available at http://scripts.sil.org/OFL_web_fonts_and_RFNs 102 + 103 +2.1 Can I make webpages using these fonts? 104 +Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended. Your three best options are: 105 +- referring directly in your stylesheet to open fonts which may be available on the user's system 106 +- providing links to download the full package of the font - either from your own website or from elsewhere - so users can install it themselves 107 +- using @font-face to distribute the font directly to browsers. This is recommended and explicitly allowed by the licensing model because it is distribution. The font file itself is distributed with other components of the webpage. It is not embedded in the webpage but referenced through a web address which will cause the browser to retrieve and use the corresponding font to render the webpage (see 1.11 and 1.15 for details related to embedding fonts into documents). As you take advantage of the @font-face cross-platform standard, be aware that web fonts are often tuned for a web environment and not intended for installation and use outside a browser. The reasons in favour of using web fonts are to allow design of dynamic text elements instead of static graphics, to make it easier for content to be localized and translated, indexed and searched, and all this with cross-platform open standards without depending on restricted extensions or plugins. You should check the CSS cascade (the order in which fonts are being called or delivered to your users) when testing. 108 + 109 +2.2 Can I make and use WOFF (Web Open Font Format) versions of OFL fonts? 110 +Yes, but you need to be careful. A change in font format normally is considered modification, and Reserved Font Names (RFNs) cannot be used. Because of the design of the WOFF format, however, it is possible to create a WOFF version that is not considered modification, and so would not require a name change. You are allowed to create, use and distribute a WOFF version of an OFL font without changing the font name, but only if: 111 + 112 +- the original font data remains unchanged except for WOFF compression, and 113 +- WOFF-specific metadata is either omitted altogether or present and includes, unaltered, the contents of all equivalent metadata in the original font. 114 + 115 +If the original font data or metadata is changed, or the WOFF-specific metadata is incomplete, the font must be considered a Modified Version, the OFL restrictions would apply and the name of the font must be changed: any RFNs cannot be used and copyright notices and licensing information must be included and cannot be deleted or modified. You must come up with a unique name - we recommend one corresponding to your domain or your particular web application. Be aware that only the original author(s) can use RFNs. This is to prevent collisions between a derivative tuned to your audience and the original upstream version and so to reduce confusion. 116 + 117 +Please note that most WOFF conversion tools and online services do not meet the two requirements listed above, and so their output must be considered a Modified Version. So be very careful and check to be sure that the tool or service you're using is compressing unchanged data and completely and accurately reflecting the original font metadata. 118 + 119 +2.3 What about other web font formats such as EOT/EOTLite/CWT/etc.? 120 +In most cases these formats alter the original font data more than WOFF, and do not completely support appropriate metadata, so their use must be considered modification and RFNs may not be used. However, there may be certain formats or usage scenarios that may allow the use of RFNs. See http://scripts.sil.org/OFL_web_fonts_and_RFNs 121 + 122 +2.4 Can I make OFL fonts available through web font online services? 123 +Yes, you are welcome to include OFL fonts in online web font services as long as you properly meet all the conditions of the license. The origin and open status of the font should be clear among the other fonts you are hosting. Authorship, copyright notices and license information must be sufficiently visible to your users or subscribers so they know where the font comes from and the rights granted by the author(s). Make sure the font file contains the needed copyright notice(s) and licensing information in its metadata. Please double-check the accuracy of every field to prevent contradictory information. Other font formats, including EOT/EOTLite/CWT and superior alternatives like WOFF, already provide fields for this information. Remember that if you modify the font within your library or convert it to another format for any reason the OFL restrictions apply and you need to change the names accordingly. Please respect the author's wishes as expressed in the OFL and do not misrepresent original designers and their work. Don't lump quality open fonts together with dubious freeware or public domain fonts. Consider how you can best work with the original designers and foundries, support their efforts and generate goodwill that will benefit your service. (See 1.17 for details related to URL-based access restrictions methods or DRM mechanisms). 124 + 125 +2.5 Some web font formats and services provide ways of "optimizing" the font for a particular website or web application; is that allowed? 126 +Yes, it is permitted, but remember that these optimized versions are Modified Versions and so must follow OFL requirements like appropriate renaming. Also you need to bear in mind the other important parameters beyond compression, speed and responsiveness: you need to consider the audience of your particular website or web application, as choosing some optimization parameters may turn out to be less than ideal for them. Subsetting by removing certain glyphs or features may seriously limit functionality of the font in various languages that your users expect. It may also introduce degradation of quality in the rendering or specific bugs on the various target platforms compared to the original font from upstream. In other words, remember that one person's optimized font may be another person's missing feature. Various advanced typographic features (OpenType, Graphite or AAT) are also available through CSS and may provide the desired effects without the need to modify the font. 127 + 128 +2.6 Is subsetting a web font considered modification? 129 +Yes. Removing any parts of the font when delivering a web font to a browser, including unused glyphs and smart font code, is considered modification. This is permitted by the OFL but would not normally allow the use of RFNs. Some newer subsetting technologies may be able to subset in a way that allows users to effectively have access to the complete font, including smart font behaviour. See 2.8 and http://scripts.sil.org/OFL_web_fonts_and_RFNs 130 + 131 +2.7 Are there any situations in which a modified web font could use RFNs? 132 +Yes. If a web font is optimized only in ways that preserve Functional Equivalence (see 2.8), then it may use RFNs, as it reasonably represents the Original Version and respects the intentions of the author(s) and the main purposes of the RFN mechanism (avoids collisions, protects authors, minimizes support, encourages derivatives). However this is technically very difficult and often impractical, so a much better scenario is for the web font service or provider to sign a separate agreement with the author(s) that allows the use of RFNs for Modified Versions. 133 + 134 +2.8 How do you know if an optimization to a web font preserves Functional Equivalence? 135 +Functional Equivalence is described in full in the 'Web fonts and RFNs' paper at http://scripts.sil.org/OFL_web_fonts_and_RFNs, in general, an optimized font is deemed to be Functionally Equivalent (FE) to the Original Version if it: 136 + 137 +- Supports the same full character inventory. If a character can be properly displayed using the Original Version, then that same character, encoded correctly on a web page, will display properly. 138 +- Provides the same smart font behavior. Any dynamic shaping behavior that works with the Original Version should work when optimized, unless the browser or environment does not support it. There does not need to be guaranteed support in the client, but there should be no forced degradation of smart font or shaping behavior, such as the removal or obfuscation of OpenType, Graphite or AAT tables. 139 +- Presents text with no obvious degradation in visual quality. The lettershapes should be equally (or more) readable, within limits of the rendering platform. 140 +- Preserves original author, project and license metadata. At a minimum, this should include: Copyright and authorship; The license as stated in the Original Version, whether that is the full text of the OFL or a link to the web version; Any RFN declarations; Information already present in the font or documentation that points back to the Original Version, such as a link to the project or the author's website. 141 + 142 +If an optimized font meets these requirements, and so is considered to be FE, then it's very likely that the original author would feel that the optimized font is a good and reasonable equivalent. If it falls short of any of these requirements, the optimized font does not reasonably represent the Original Version, and so should be considered to be a Modified Version. Like other Modified Versions, it would not be allowed to use any RFNs and you simply need to pick your own font name. 143 + 144 +2.9 Isn't use of web fonts another form of embedding? 145 +No. Unlike embedded fonts in a PDF, web fonts are not an integrated part of the document itself. They are not specific to a single document and are often applied to thousands of documents around the world. The font data is not stored alongside the document data and often originates from a different location. The ease by which the web fonts used by a document may be identified and downloaded for desktop use demonstrates that they are philosophically and technically separate from the web pages that specify them. See http://scripts.sil.org/OFL_web_fonts_and_RFNs 146 + 147 +2.10 So would it be better to not use RFNs at all if you want your font to be distributed by a web fonts service? 148 +No. Although the OFL does not require authors to use RFNs, the RFN mechanism is an important part of the OFL model and completely compatible with web font services. If that web font service modifies the fonts, then the best solution is to sign a separate agreement for the use of any RFNs. It is perfectly valid for an author to not declare any RFNs, but before they do so they need to fully understand the benefits they are giving up, and the overall negative effect of allowing many different versions bearing the same name to be widely distributed. As a result, we don't generally recommend it. 149 + 150 +2.11 What should an agreement for the use of RFNs say? Are there any examples? 151 +There is no prescribed format for this agreement, as legal systems vary, and no recommended examples. Authors may wish to add specific clauses to further restrict use, require author review of Modified Versions, establish user support mechanisms or provide terms for ending the agreement. Such agreements are usually not public, and apply only to the main parties. However, it would be very beneficial for web font services to clearly state when they have established such agreements, so that the public understands clearly that their service is operating appropriately. 152 + 153 +See the separate paper on 'Web Fonts & RFNs' for in-depth discussion of issues related to the use of RFNs for web fonts. This is available at http://scripts.sil.org/OFL_web_fonts_and_RFNs 154 + 155 + 156 +3 MODIFYING OFL-LICENSED FONTS 157 + 158 +3.1 Can I change the fonts? Are there any limitations to what things I can and cannot change? 159 +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 put additional information into it that covers your contribution. See the placeholders in the OFL header template for recommendations on where to add your own statements. (Remember that, when authors have reserved names via the RFN mechanism, you need to change the internal names of the font to your own font name when making your modified version even if it is just a small change.) 160 + 161 +3.2 I have a font that needs a few extra glyphs - can I take them from an OFL licensed font and copy them into mine? 162 +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. 163 + 164 +3.3 Can I charge people for my additional work? In other words, if I add a bunch of special glyphs or OpenType/Graphite/AAT code, can I sell the enhanced font? 165 +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. 166 + 167 +3.4 Can I pay someone to enhance the fonts for my use and distribution? 168 +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 benefited from the contributions of others. 169 + 170 +3.5 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? 171 +No. If you redistribute a Modified Version of the font it must be under the OFL. You may not restrict it in any way beyond what the OFL permits and requires. 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 benefited from the contributions of others. 172 + 173 +3.6 Do I have to make any derivative fonts (including extended source files, build scripts, documentation, etc.) publicly available? 174 +No, but please consider sharing your improvements with others. You may find that you receive in return more than what you gave. 175 + 176 +3.7 If a trademark is claimed in the OFL font, does that trademark need to remain in modified fonts? 177 +Yes. Any trademark notices must remain in any derivative fonts to respect trademark laws, but you may add any additional trademarks you claim, officially registered or not. For example if an OFL font called "Foo" contains a notice that "Foo is a trademark of Acme", then if you rename the font to "Bar" when creating a Modified Version, the new trademark notice could say "Foo is a trademark of Acme Inc. - Bar is a trademark of Roadrunner Technologies Ltd.". Trademarks work alongside the OFL and are not subject to the terms of the licensing agreement. The OFL does not grant any rights under trademark law. Bear in mind that trademark law varies from country to country and that there are no international trademark conventions as there are for copyright. You may need to significantly invest in registering and defending a trademark for it to remain valid in the countries you are interested in. This may be costly for an individual independent designer. 178 + 179 +3.8 If I commit changes to a font (or publish a branch in a DVCS) as part of a public open source software project, do I have to change the internal font names? 180 +Only if there are declared RFNs. Making a public commit or publishing a public branch is effectively redistributing your modifications, so any change to the font will require that you do not use the RFNs. Even if there are no RFNs, it may be useful to change the name or add a suffix indicating that a particular version of the font is still in development and not released yet. This will clearly indicate to users and fellow designers that this particular font is not ready for release yet. See section 5 for more details. 181 + 182 + 183 +4 LICENSING YOUR ORIGINAL FONTS UNDER THE OFL 184 + 185 +4.1 Can I use the SIL OFL for my own fonts? 186 +Yes! We heartily encourage everyone 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. The licensing model is used successfully by various organisations, both for-profit and not-for-profit, to release fonts of varying levels of scope and complexity. 187 + 188 +4.2 What do I have to do to apply the OFL to my font? 189 +If you want to release your fonts under the OFL, we recommend you do the following: 190 + 191 +4.2.1 Put your copyright and Reserved Font Names information at the beginning of the main OFL.txt file in place of the dedicated placeholders (marked with the <> characters). Include this file in your release package. 192 + 193 +4.2.2 Put your copyright and the OFL text with your chosen Reserved Font Name(s) into your font files (the copyright and license fields). A link to the OFL text on the OFL web site is an acceptable (but not recommended) alternative. Also add this information to any other components (build scripts, glyph databases, documentation, test files, etc). Accurate metadata in your font files is beneficial to you as an increasing number of applications are exposing this information to the user. For example, clickable links can bring users back to your website and let them know about other work you have done or services you provide. Depending on the format of your fonts and sources, you can use template human-readable headers or machine-readable metadata. You should also double-check that there is no conflicting metadata in the font itself contradicting the license, such as the fstype bits in the os2 table or fields in the name table. 194 + 195 +4.2.3 Write an initial FONTLOG.txt for your font and include it in the release package (see Section 6 and Appendix A for details including a template). 196 + 197 +4.2.4 Include the relevant practical documentation on the license by adding the current OFL-FAQ.txt file in your package. 198 + 199 +4.2.5 If you wish you can use the OFL graphics (http://scripts.sil.org/OFL_logo) on your website. 200 + 201 +4.3 Will you make my font OFL for me? 202 +We won't do the work for you. We can, however, try to answer your questions, unfortunately we do not have the resources to review and check your font packages for correct use of the OFL. We recommend you turn to designers, foundries or consulting companies with experience in doing open font design to provide this service to you. 203 + 204 +4.4 Will you distribute my OFL font for me? 205 +No, although if the font is of sufficient quality and general interest we may include a link to it on our partial list of OFL fonts on the OFL web site. You may wish to consider other open font catalogs or hosting services, such as the Unifont Font Guide (http://unifont.org/fontguide), The League of Movable Type (http://theleagueofmovabletype.com) or the Open Font Library (http://openfontlibrary.org/), which despite the name has no direct relationship to the OFL or SIL. We do not endorse any particular catalog or hosting service - it is your responsibility to determine if the service is right for you and if it treats authors with fairness. 206 + 207 +4.5 Why should I use the OFL for my fonts? 208 +- to meet needs for fonts that can be modified to support lesser-known languages 209 +- to provide a legal and clear way for people to respect your work but still use it (and reduce piracy) 210 +- to involve others in your font project 211 +- to enable your fonts to be expanded with new weights and improved writing system/language support 212 +- to allow more technical font developers to add features to your design (such as OpenType, Graphite or AAT support) 213 +- to renew the life of an old font lying on your hard drive with no business model 214 +- to allow your font to be included in Libre Software operating systems like Ubuntu 215 +- to give your font world status and wide, unrestricted distribution 216 +- to educate students about quality typeface and font design 217 +- to expand your test base and get more useful feedback 218 +- to extend your reach to new markets when users see your metadata and go to your website 219 +- to get your font more easily into one of the web font online services 220 +- to attract attention for your commercial fonts 221 +- to make money through web font services 222 +- to make money by bundling fonts with applications 223 +- to make money adjusting and extending existing open fonts 224 +- to get a better chance that foundations/NGOs/charities/companies who commission fonts will pick you 225 +- to be part of a sharing design and development community 226 +- to give back and contribute to a growing body of font sources 227 + 228 + 229 +5 CHOOSING RESERVED FONT NAMES 230 + 231 +5.1 What are Reserved Font Names? 232 +These are font names, or portions of font names, that the author has chosen to reserve for use only with the Original Version of the font, or for Modified Version(s) created by the original author. 233 + 234 +5.2 Why can't I use the Reserved Font Names in my derivative font names? I'd like people to know where the design came from. 235 +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 Names 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. It will help everyone if Original Versions and Modified Versions can easily be distinguished from one another and from other derivatives. Any substitution and matching mechanism is outside the scope of the license. 236 + 237 +5.3 What do you mean by "primary name as presented to the user"? Are you referring to the font menu name? 238 +Yes, this applies to the font menu name and other mechanisms that specify a font in a document. It would be fine, however, 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). Users who install derivatives (Modified Versions) on their systems should not see any of the original Reserved Font Names in their font menus, for example. Again, this is to ensure that users are not confused and do not mistake one font for another and so expect features only another derivative or the Original Version can actually offer. 239 + 240 +5.4 Am I not allowed to use any part of the Reserved Font Names? 241 +You may not use individual words from the Reserved 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. 242 + 243 +5.5 So what should I, as an author, identify as Reserved Font Names? 244 +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 for simplicity and legibility. A font called "Flowing River" should have Reserved Font Names "Flowing" and "River", not "Flowing River". You also need to be very careful about reserving font names which are already linked to trademarks (whether registered or not) which you do not own. 245 + 246 +5.6 Do I, as an author, have to identify any Reserved Font Names? 247 +No. RFNs are optional and not required, but we encourage you to use them. This is primarily to avoid confusion between your work and Modified Versions. As an author you can release a font under the OFL and not declare any Reserved Font Names. There may be situations where you find that using no RFNs and letting your font be changed and modified - including any kind of modification - without having to change the original name is desirable. However you need to be fully aware of the consequences. There will be no direct way for end-users and other designers to distinguish your Original Version from many Modified Versions that may be created. You have to trust whoever is making the changes and the optimizations to not introduce problematic changes. The RFNs you choose for your own creation have value to you as an author because they allow you to maintain artistic integrity and keep some control over the distribution channel to your end-users. For discussion of RFNs and web fonts see section 2. 248 + 249 +5.7 Are any names (such as the main font name) reserved by default? 250 +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). 251 + 252 +5.8 Is there any situation in which I can use Reserved Font Names for a Modified Version? 253 +The Copyright Holder(s) can give certain trusted parties the right to use any of the 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. The existence of such an agreement should be made as clear as possible to downstream users and designers in the distribution package and the relevant documentation. They need to know if they are a party to the agreement or not and what they are practically allowed to do or not even if all the details of the agreement are not public. 254 + 255 +5.9 Do font rebuilds require a name change? Do I have to change the name of the font when my packaging workflow includes a full rebuild from source? 256 +Yes, all rebuilds which change the font data and the smart code are Modified Versions and the requirements of the OFL apply: you need to respect what the Author(s) have chosen in terms of Reserved Font Names. However if a package (or installer) is simply a wrapper or a compressed structure around the final font - leaving them intact on the inside - then no name change is required. Please get in touch with the author(s) and copyright holder(s) to inquire about the presence of font sources beyond the final font file(s) and the recommended build path. That build path may very well be non-trivial and hard to reproduce accurately by the maintainer. If a full font build path is made available by the upstream author(s) please be aware that any regressions and changes you may introduce when doing a rebuild for packaging purposes is your own responsibility as a package maintainer since you are effectively creating a separate branch. You should make it very clear to your users that your rebuilt version is not the canonical one from upstream. 257 + 258 +5.10 Can I add other Reserved Font Names when making a derivative font? 259 +Yes. List your additional Reserved Font Names after your additional copyright statement, as indicated with example placeholders at the top of the OFL.txt file. Be sure you do not remove any existing RFNs but only add your own. RFN statements should be placed next to the copyright statement of the relevant author as indicated in the OFL.txt template to make them visible to designers wishing to make their separate version. 260 + 261 + 262 +6 ABOUT THE FONTLOG 263 + 264 +6.1 What is this FONTLOG thing exactly? 265 +It has three purposes: 1) to provide basic information on the font to users and other designers and 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 authors and other contributors. Please use it! 266 + 267 +6.2 Is the FONTLOG required? 268 +It is not a requirement of the license, but we strongly recommend you have one. 269 + 270 +6.3 Am I required to update the FONTLOG when making Modified Versions? 271 +No, but users, designers and other developers might get very frustrated with 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. There are utilities that can help create and maintain a FONTLOG, such as the FONTLOG support in FontForge. 272 + 273 +6.4 What should the FONTLOG look like? 274 +It is typically a separate text file (FONTLOG.txt), but can take other formats. It commonly includes these four sections: 275 + 276 +- brief header describing the FONTLOG itself and name of the font family 277 +- Basic Font Information - description of the font family, purpose and breadth 278 +- ChangeLog - chronological listing of changes 279 +- Acknowledgements - list of authors and contributors with contact information 280 + 281 +It could also include other sections, such as: where to find documentation, how to make contributions, information on contributing organizations, source code details, and a short design guide. See Appendix A for an example FONTLOG. 282 + 283 + 284 +7 MAKING CONTRIBUTIONS TO OFL PROJECTS 285 + 286 +7.1 Can I contribute work to OFL projects? 287 +In many cases, yes. It is common for OFL fonts to be developed by a team of people who welcome contributions from the wider community. Contact the original authors for specific information on how to participate in their projects. 288 + 289 +7.2 Why should I contribute my changes back to the original authors? 290 +It would benefit many people if you contributed back in response to what you've received. Your contributions and improvements to the fonts and other components could be a tremendous help and would encourage others to contribute as well and 'give back'. You will then 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. 291 + 292 +7.3 I've made some very nice improvements to the font. Will you consider adopting them and putting them into future Original Versions? 293 +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, mercurial, git or bzr is a good idea. Please follow the recommendations given by the author(s) in terms of preferred source formats and configuration parameters for sending contributions. If this is not indicated in a FONTLOG or other documentation of the font, consider asking them directly. Examples of useful contributions are bug fixes, additional glyphs, stylistic alternates (and the smart font code to access them) or improved hinting. Keep in mind that some kinds of changes (esp. hinting) may be technically difficult to integrate. 294 + 295 +7.4 How can I financially support the development of OFL fonts? 296 +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. 297 + 298 + 299 +8 ABOUT THE LICENSE ITSELF 300 + 301 +8.1 I see that this is version 1.1 of the license. Will there be later changes? 302 +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. 303 + 304 +8.2 Does this license restrict the rights of the Copyright Holder(s)? 305 +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. 306 + 307 +8.3 Is the OFL a contract or a license? 308 +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. 309 + 310 +8.4 I really like the terms of the OFL, but want to change it a little. Am I allowed to take ideas and actual wording from the OFL and put them into my own custom license for distributing my fonts? 311 +We strongly recommend against creating your very own unique open licensing model. Using a modified or derivative license will likely cut you off - along with the font(s) under that license - from the community of designers using the OFL, potentially expose you and your users to legal liabilities, and possibly put your work and rights at risk. The OFL went though a community and legal review process that took years of effort, and that review is only applicable to an unmodified OFL. The text of the OFL has been written by SIL (with review and consultation from the community) and is copyright (c) 2005-2013 SIL International. You may re-use the ideas and wording (in part, not in whole) in another non-proprietary license provided that you call your license by another unambiguous name, that you do not use the preamble, that you do not mention SIL and that you clearly present your license as different from the OFL so as not to cause confusion by being too similar to the original. If you feel the OFL does not meet your needs for an open license, please contact us. 312 + 313 +8.5 Can I translate the license and the FAQ into other languages? 314 +SIL certainly recognises the need for people who are not familiar with English to be able to understand the OFL and its use. Making the license very clear and readable has been a key goal for the OFL, but we know that people understand their own language best. 315 + 316 +If you are an experienced translator, you are very welcome to translate the OFL and OFL-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. 317 + 318 +SIL gives permission to publish unofficial translations into other languages provided that they comply with the following guidelines: 319 + 320 +- Put the following disclaimer in both English and the target language stating clearly that the translation is unofficial: 321 + 322 +"This is an unofficial translation of the SIL Open Font License into <language_name>. 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 better understand and use the OFL. We encourage designers who consider releasing their creation under the OFL to read the OFL-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 OFL-FAQ." 323 + 324 +- 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. 325 + 326 +If you start such a unofficial translation effort of the OFL and OFL-FAQ please let us know. 327 + 328 + 329 +9 ABOUT SIL INTERNATIONAL 330 + 331 +9.1 Who is SIL International and what do they do? 332 +SIL serves language communities worldwide, building their capacity for sustainable language development, by means of research, translation, training and materials development. 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. 333 + 334 +9.2 What does this have to do with font licensing? 335 +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 Free/Libre and Open Source Software community. 336 + 337 +9.3 How can I contact SIL? 338 +Our main web site is: http://www.sil.org/ 339 +Our site about complex scripts is: http://scripts.sil.org/ 340 +Information about this license (and contact information) is at: http://scripts.sil.org/OFL 341 + 342 + 343 +APPENDIX A - FONTLOG EXAMPLE 344 + 345 +Here is an example of the recommended format for a FONTLOG, although other formats are allowed. 346 + 347 +----- 348 +FONTLOG for the GlobalFontFamily fonts 349 + 350 +This file provides detailed information on the GlobalFontFamily Font Software. This information should be distributed along with the GlobalFontFamily fonts and any derivative works. 351 + 352 +Basic Font Information 353 + 354 +GlobalFontFamily is a Unicode typeface family that supports all languages that use the Latin script and its variants, and could be expanded to support other scripts. 355 + 356 +NewWorldFontFamily is based on the GlobalFontFamily and also supports Greek, Hebrew, Cyrillic and Armenian. 357 + 358 +More specifically, this release supports the following Unicode ranges... 359 +This release contains... 360 +Documentation can be found at... 361 +To contribute to the project... 362 + 363 +ChangeLog 364 + 365 +10 December 2010 (Fred Foobar) GlobalFontFamily-devel version 1.4 366 +- fix new build and testing system (bug #123456) 367 + 368 +1 August 2008 (Tom Parker) GlobalFontFamily version 1.2.1 369 +- Tweaked the smart font code (Branch merged with trunk version) 370 +- Provided improved build and debugging environment for smart behaviours 371 + 372 +7 February 2007 (Pat Johnson) NewWorldFontFamily Version 1.3 373 +- Added Greek and Cyrillic glyphs 374 + 375 +7 March 2006 (Fred Foobar) NewWorldFontFamily Version 1.2 376 +- Tweaked contextual behaviours 377 + 378 +1 Feb 2005 (Jane Doe) NewWorldFontFamily Version 1.1 379 +- Improved build script performance and verbosity 380 +- Extended the smart code documentation 381 +- Corrected minor typos in the documentation 382 +- Fixed position of combining inverted breve below (U+032F) 383 +- Added OpenType/Graphite smart code for Armenian 384 +- Added Armenian glyphs (U+0531 -> U+0587) 385 +- Released as "NewWorldFontFamily" 386 + 387 +1 Jan 2005 (Joe Smith) GlobalFontFamily Version 1.0 388 +- Initial release 389 + 390 +Acknowledgements 391 + 392 +If you make modifications be sure to add your name (N), email (E), web-address (if you have one) (W) and description (D). This list is in alphabetical order. 393 + 394 +N: Jane Doe 395 +E: jane@university.edu 396 +W: http://art.university.edu/projects/fonts 397 +D: Contributor - Armenian glyphs and code 398 + 399 +N: Fred Foobar 400 +E: fred@foobar.org 401 +W: http://foobar.org 402 +D: Contributor - misc Graphite fixes 403 + 404 +N: Pat Johnson 405 +E: pat@fontstudio.org 406 +W: http://pat.fontstudio.org 407 +D: Designer - Greek & Cyrillic glyphs based on Roman design 408 + 409 +N: Tom Parker 410 +E: tom@company.com 411 +W: http://www.company.com/tom/projects/fonts 412 +D: Engineer - original smart font code 413 + 414 +N: Joe Smith 415 +E: joe@fontstudio.org 416 +W: http://joe.fontstudio.org 417 +D: Designer - original Roman glyphs 418 + 419 +Fontstudio.org is an not-for-profit design group whose purpose is... 420 +Foobar.org is a distributed community of developers... 421 +Company.com is a small business who likes to support community designers... 422 +University.edu is a renowned educational institution with a strong design department... 423 +----- 424 + 425 +
1 +Copyright (c) 2014, Peter Wiegel (Font) (http://www.peter-wiegel.de/), 2 + 3 +with Reserved Font Name „Kanalisirung“. 4 + 5 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 6 +This license is copied below, and is also available with a FAQ at: 7 +http://scripts.sil.org/OFL 8 + 9 + 10 +----------------------------------------------------------- 11 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 12 +----------------------------------------------------------- 13 + 14 +PREAMBLE 15 +The goals of the Open Font License (OFL) are to stimulate worldwide 16 +development of collaborative font projects, to support the font creation 17 +efforts of academic and linguistic communities, and to provide a free and 18 +open framework in which fonts may be shared and improved in partnership 19 +with others. 20 + 21 +The OFL allows the licensed fonts to be used, studied, modified and 22 +redistributed freely as long as they are not sold by themselves. The 23 +fonts, including any derivative works, can be bundled, embedded, 24 +redistributed and/or sold with any software provided that any reserved 25 +names are not used by derivative works. The fonts and derivatives, 26 +however, cannot be released under any other type of license. The 27 +requirement for fonts to remain under this license does not apply 28 +to any document created using the fonts or their derivatives. 29 + 30 +DEFINITIONS 31 +"Font Software" refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +"Reserved Font Name" refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +"Original Version" refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +"Modified Version" refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +"Author" refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 +PERMISSION & CONDITIONS 50 +Permission is hereby granted, free of charge, to any person obtaining 51 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 52 +redistribute, and sell modified and unmodified copies of the Font 53 +Software, subject to the following conditions: 54 + 55 +1) Neither the Font Software nor any of its individual components, 56 +in Original or Modified Versions, may be sold by itself. 57 + 58 +2) Original or Modified Versions of the Font Software may be bundled, 59 +redistributed and/or sold with any software, provided that each copy 60 +contains the above copyright notice and this license. These can be 61 +included either as stand-alone text files, human-readable headers or 62 +in the appropriate machine-readable metadata fields within text or 63 +binary files as long as those fields can be easily viewed by the user. 64 + 65 +3) No Modified Version of the Font Software may use the Reserved Font 66 +Name(s) unless explicit written permission is granted by the corresponding 67 +Copyright Holder. This restriction only applies to the primary font name as 68 +presented to the users. 69 + 70 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 71 +Software shall not be used to promote, endorse or advertise any 72 +Modified Version, except to acknowledge the contribution(s) of the 73 +Copyright Holder(s) and the Author(s) or with their explicit written 74 +permission. 75 + 76 +5) The Font Software, modified or unmodified, in part or in whole, 77 +must be distributed entirely under this license, and must not be 78 +distributed under any other license. The requirement for fonts to 79 +remain under this license does not apply to any document created 80 +using the Font Software. 81 + 82 +TERMINATION 83 +This license becomes null and void if any of the above conditions are 84 +not met. 85 + 86 +DISCLAIMER 87 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 88 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 89 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 90 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 91 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 92 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 93 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 94 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 95 +OTHER DEALINGS IN THE FONT SOFTWARE.
1 +Eine kurze deutsche Zusammenfassung der OFL finden Sie auf: 2 +http://de.wikipedia.org/wiki/SIL_Open_Font_License 3 + 4 + 5 + 6 +OFL FAQ - Frequently Asked Questions about the SIL Open Font License (OFL) 7 +Version 1.1-update1 - 31 March 2009 8 +(See http://scripts.sil.org/OFL for updates) 9 + 10 + 11 +1 ABOUT USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL 12 + 13 +1.1 Can I use the fonts in any publication, even embedded in the file? 14 +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. 15 + 16 +1.2 Can I make web pages using these fonts? 17 +Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended. Direct usage of fonts retrieved from a remote server - also referred to as font linking - using cross-platform open standards like @font-face is encouraged. This is considered to be use and distribution for which the OFL explicitly grants permission. The font file itself is not embedded in the webpage but referenced through a web address (i.e. a URI regardless of file format or access protocol) which will cause the browser to retrieve and use the corresponding font to render the webpage. This usage scenario is different from font embedding within a document (i.e. a PDF) where the font or some of its elements become part of the document. Note that embedding in a document is also permitted by the license as indicated in 1.1. (See 1.10 for details related to URL-based access restrictions methods or DRM mechanisms). 18 + 19 +1.3 Can I make the fonts available to others from my web site? 20 +Yes, as long as you meet the conditions of the license (do not sell by itself, include the necessary files, include the necessary copyright and license information, rename Modified Versions, do not abuse the Author(s)' name(s) and do not sublicense). In the case where you are hosting fonts to be served on the web, make sure the file contains the needed copyright notice(s) and licensing information in its metadata. Please double-check the accuracy of every field to prevent contradictory information. If you are making the font available for use via the @font-face open standard, putting this information in the standard font metadata fields is sufficient. Other font formats, including EOT and proposed superior alternatives, already provide fields for this information. 21 + 22 +1.4 Can the fonts be included with Free/Libre and Open Source Software collections such as GNU/Linux and BSD distributions? 23 +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. 24 + 25 +1.5 I want to distribute the fonts with my program. Does this mean my program also has to be free/libre and open source software? 26 +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. 27 + 28 +1.6 Can I include the fonts on a CD of freeware or commercial fonts? 29 +Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself. 30 + 31 +1.7 Can I sell a software package that includes these fonts? 32 +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. 33 + 34 +1.8 Why won't the OFL let me sell the fonts alone? 35 +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! 36 + 37 +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? 38 +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. 39 + 40 +1.10 What do you mean in condition 4? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement? 41 +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. 42 + 43 +1.11 Can Font Software released under the OFL be subject to URL-based access restrictions methods or DRM mechanisms? 44 +Yes, but these issues are out-of-scope for the OFL. The license itself neither encourages their use nor prohibits them since such mechanisms are not implemented in the components of the Font Software but through external software. Such restrictions are put in place for many different purposes corresponding to various usage scenarios. One common example is to limit potentially dangerous cross-site scripting attacks. However, in the spirit of libre/open fonts and unrestricted writing systems, we strongly encourage open sharing and reuse of OFL fonts, and the establishment of an environment where such restrictions are unnecessary. Note that whether you wish to use such mechanisms or you prefer not to, you must still abide by the rules set forth by the OFL when using fonts released by their authors under this license. Derivative fonts must be licensed under the OFL, even if they are part of a service for which you charge fees and/or for which access to source code is restricted. You may not sell the fonts on their own - they must be part of a larger software package or bundle. For example, even if the OFL font is distributed in a software package or via an online service using a DRM mechanism, the user would still have the right to extract that font, use, study, modify and redistribute it under the OFL. 45 + 46 +1.12 What about distributing fonts with a document? Within a compressed folder structure like an OpenDocument file (.odt) for example? Is it redistribution, bundling or embedding? 47 +The vast majority of the time, documents circulated in electronic form reference a font name which will match the corresponding font on the target system but do not carry the font within themselves. There may, however, be some cases where you need to bundle a font with the document. Certain document formats may allow the inclusion of an unmodified font within their file structure which consists of a compressed folder containing the various resources forming the document (such as pictures and thumbnails). Including fonts within such a structure is understood as being different from embedding but rather similar to bundling (or mere aggregation) for which the licensing makes explicit provision. In this case the font is conveyed unchanged whereas embedding a font transforms it from the original format. The OFL does not allow anyone to extract the font from such a structure to then redistribute it under another license. The explicit permission to redistribute and embed does not cancel the requirement for the Font Software to remain under the license chosen by its Author(s). 48 + 49 +1.13 If OFL fonts are extracted from a document in which they are embedded (such as a PDF file), what can be done with them? Is this a risk to Author(s)? 50 +The few utilities that can extract fonts embedded in a PDF will only output limited amounts of outlines - not a complete font. To create a working font from this method is much more difficult than finding the source of the original OFL font. So there is little chance that an OFL font would be extracted and redistributed inappropriately through this method. Even so, copyright laws address any misrepresentation of authorship. All Font Software released under the OFL and marked as such by the Author(s) is intended to remain under this license regardless of the distribution method, and cannot be redistributed under any other license. We strongly discourage any font extraction - we recommend directly using the font sources instead - but if you extract font outlines from a document please be considerate, use your common sense and respect the work of the Author(s) and the licensing model. 51 + 52 +1.14 What about sharing OFL fonts with friends on a CD, DVD or USB stick? 53 +You are very welcome to share open fonts with friends, family and colleagues on such removable media. Please make sure that you share and share-alike as much as possible from what the Author(s) released and that you don't strip away useful information which may not be present in the binary font files themselves. Just remember that in the case where you sell the font, it has to come bundled with software. 54 + 55 + 56 +2 ABOUT MODIFYING OFL LICENSED FONTS 57 + 58 +2.1 Can I change the fonts? Are there any limitations to what things I can and cannot change? 59 +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. 60 + 61 +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? 62 +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. 63 + 64 +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? 65 +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. 66 + 67 +2.4 Can I pay someone to enhance the fonts for my use and distribution? 68 +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. 69 + 70 +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? 71 +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. 72 + 73 +2.6 Do I have to make any derivative fonts (including extended source files, build scripts, documentation, etc.) publicly available? 74 +No, but please do share your improvements with others. You may find that you receive more than what you gave in return. 75 + 76 +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. 77 +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. 78 + 79 +2.8 What do you mean by "primary name as presented to the user"? Are you referring to the font menu name? 80 +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. 81 + 82 +2.9 Am I not allowed to use any part of the Reserved Font Names? 83 +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. 84 + 85 +2.10 So what should I, as an author, identify as Reserved Font Names? 86 +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". 87 + 88 +2.11 Do I, as an author, have to identify any Reserved Font Names? 89 +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. 90 + 91 +2.12 Are any names (such as the main font name) reserved by default? 92 +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). 93 + 94 +2.13 What is this FONTLOG thing exactly? 95 +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. 96 + 97 +2.14 Am I required to update the FONTLOG? 98 +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. 99 + 100 + 101 +3 ABOUT THE FONTLOG 102 + 103 +The FONTLOG can take a variety of formats, but should include these four sections: 104 + 105 +3.1 FONTLOG for <FontFamilyName> 106 +This file provides detailed information on the <FontFamilyName> Font Software. This information should be distributed along with the <FontFamilyName> fonts and any derivative works. 107 + 108 +3.2 Basic Font Information 109 +(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.) 110 + 111 +3.3 ChangeLog 112 +(This should list both major and minor changes, most recent first. Here are some examples:) 113 + 114 +7 February 2007 (Pat Johnson) <NewFontFamilyName> Version 1.3 115 +- Added Greek and Cyrillic glyphs 116 +- Released as "<NewFontFamilyName>" 117 + 118 +7 March 2006 (Fred Foobar) <NewFontFamilyName> Version 1.2 119 +- Tweaked contextual behaviours 120 +- Released as "<NewFontFamilyName>" 121 + 122 +1 Feb 2005 (Jane Doe) <NewFontFamilyName> Version 1.1 123 +- Improved build script performance and verbosity 124 +- Extended the smart code documentation 125 +- Corrected minor typos in the documentation 126 +- Fixed position of combining inverted breve below (U+032F) 127 +- Added OpenType/Graphite smart code for Armenian 128 +- Added Armenian glyphs (U+0531 -> U+0587) 129 +- Released as "<NewFontFamilyName>" 130 + 131 +1 Jan 2005 (Joe Smith) <FontFamilyName> Version 1.0 132 +- Initial release of font "<FontFamilyName>" 133 + 134 +3.4 Acknowledgements 135 +(Here is where contributors can be acknowledged. 136 + 137 +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.) 138 + 139 +N: Jane Doe 140 +E: jane@university.edu 141 +W: http://art.university.edu/projects/fonts 142 +D: Contributor - Armenian glyphs and code 143 + 144 +N: Fred Foobar 145 +E: fred@foobar.org 146 +W: http://foobar.org 147 +D: Contributor - misc Graphite fixes 148 + 149 +N: Pat Johnson 150 +E: pat@fontstudio.org 151 +W: http://pat.fontstudio.org 152 +D: Designer - Greek & Cyrillic glyphs based on Roman design 153 + 154 +N: Tom Parker 155 +E: tom@company.com 156 +W: http://www.company.com/tom/projects/fonts 157 +D: Engineer - original smart font code 158 + 159 +N: Joe Smith 160 +E: joe@fontstudio.org 161 +W: http://joe.fontstudio.org 162 +D: Designer - original Roman glyphs 163 + 164 +(Original authors can also include information here about their organization.) 165 + 166 + 167 +4 ABOUT MAKING CONTRIBUTIONS 168 + 169 +4.1 Why should I contribute my changes back to the original authors? 170 +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. 171 + 172 +4.2 I've made some very nice improvements to the font, will you consider adopting them and putting them into future Original Versions? 173 +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, mercurial, git 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. 174 + 175 +4.3 How can I financially support the development of OFL fonts? 176 +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. 177 + 178 +(In case of the font, that comes with this copy of the FAQ-file, you will find a paypal(tm) donation link on the fonts-page of www.peter-wiegel.de) 179 + 180 + 181 +5 ABOUT THE LICENSE 182 + 183 +5.1 I see that this is version 1.1 of the license. Will there be later changes? 184 +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. 185 + 186 +5.2 Can I use the SIL Open Font License for my own fonts? 187 +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. 188 + 189 +5.3 Does this license restrict the rights of the Copyright Holder(s)? 190 +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. 191 + 192 +5.4 Is the OFL a contract or a license? 193 +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. 194 + 195 +5.5 How about translating the license and the FAQ into other languages? 196 +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. 197 + 198 +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. 199 + 200 +We give permission to publish unofficial translations into other languages provided that they comply with the following guidelines: 201 + 202 +- put the following disclaimer in both English and the target language stating clearly that the translation is unofficial: 203 + 204 +"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. 205 + 206 +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. 207 + 208 +Please go to http://scripts.sil.org/OFL for the official version of the license and the accompanying FAQ." 209 + 210 +- 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. 211 + 212 +If you start such a unofficial translation effort of the OFL and its accompanying FAQ please let us know, thank you. 213 + 214 + 215 +6 ABOUT SIL INTERNATIONAL 216 + 217 +6.1 Who is SIL International and what does it do? 218 +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. 219 + 220 +6.2 What does this have to do with font licensing? 221 +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. 222 + 223 +6.3 How can I contact SIL? 224 +Our main web site is: http://www.sil.org/ 225 +Our site about complex scripts is: http://scripts.sil.org/ 226 +Information about this license (including contact email information) is at: http://scripts.sil.org/OFL 227 + 228 + 229 +7 ABOUT USING THE OFL FOR YOUR ORIGINAL FONTS 230 + 231 +If you want to release your fonts under the OFL, you only need to do the following: 232 + 233 +7.1 Put your copyright and reserved font names information in the beginning of the main OFL file (simply use the dedicated placeholders). 234 +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). Accurate metadata in your font files is beneficial to you as an increasing number of applications are exposing this information to the user. For example, clickable links can bring users back to your website and let them know about other work you have done or services you provide. Depending on the format of your fonts and sources, you can use template human-readable headers or machine-readable metadata. 235 +7.3 Write an initial FONTLOG for your font and include it in the release package. 236 +7.4 Include the OFL license file in your release package. 237 +7.5 We also highly recommend you include the relevant practical documentation on the license by putting the OFL-FAQ in your package. 238 +7.6 If you wish, you can use the OFL Graphics on your web page. 239 + 240 +That's all. If you have any more questions please get in touch with us. 241 + 242 +
1 +Copyright (c) 2009, Peter Wiegel, www.peter-wiegel.de, wiegel@peter-wiegel.de 2 +with Reserved Font Name MMX2010. 3 + 4 + 5 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 6 +This license is copied below, and is also available with a FAQ at: 7 +http://scripts.sil.org/OFL 8 + 9 + 10 +----------------------------------------------------------- 11 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 12 +----------------------------------------------------------- 13 + 14 +PREAMBLE 15 +The goals of the Open Font License (OFL) are to stimulate worldwide 16 +development of collaborative font projects, to support the font creation 17 +efforts of academic and linguistic communities, and to provide a free and 18 +open framework in which fonts may be shared and improved in partnership 19 +with others. 20 + 21 +The OFL allows the licensed fonts to be used, studied, modified and 22 +redistributed freely as long as they are not sold by themselves. The 23 +fonts, including any derivative works, can be bundled, embedded, 24 +redistributed and/or sold with any software provided that any reserved 25 +names are not used by derivative works. The fonts and derivatives, 26 +however, cannot be released under any other type of license. The 27 +requirement for fonts to remain under this license does not apply 28 +to any document created using the fonts or their derivatives. 29 + 30 +DEFINITIONS 31 +"Font Software" refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +"Reserved Font Name" refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +"Original Version" refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +"Modified Version" refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +"Author" refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 +PERMISSION & CONDITIONS 50 +Permission is hereby granted, free of charge, to any person obtaining 51 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 52 +redistribute, and sell modified and unmodified copies of the Font 53 +Software, subject to the following conditions: 54 + 55 +1) Neither the Font Software nor any of its individual components, 56 +in Original or Modified Versions, may be sold by itself. 57 + 58 +2) Original or Modified Versions of the Font Software may be bundled, 59 +redistributed and/or sold with any software, provided that each copy 60 +contains the above copyright notice and this license. These can be 61 +included either as stand-alone text files, human-readable headers or 62 +in the appropriate machine-readable metadata fields within text or 63 +binary files as long as those fields can be easily viewed by the user. 64 + 65 +3) No Modified Version of the Font Software may use the Reserved Font 66 +Name(s) unless explicit written permission is granted by the corresponding 67 +Copyright Holder. This restriction only applies to the primary font name as 68 +presented to the users. 69 + 70 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 71 +Software shall not be used to promote, endorse or advertise any 72 +Modified Version, except to acknowledge the contribution(s) of the 73 +Copyright Holder(s) and the Author(s) or with their explicit written 74 +permission. 75 + 76 +5) The Font Software, modified or unmodified, in part or in whole, 77 +must be distributed entirely under this license, and must not be 78 +distributed under any other license. The requirement for fonts to 79 +remain under this license does not apply to any document created 80 +using the Font Software. 81 + 82 +TERMINATION 83 +This license becomes null and void if any of the above conditions are 84 +not met. 85 + 86 +DISCLAIMER 87 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 88 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 89 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 90 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 91 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 92 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 93 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 94 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 95 +OTHER DEALINGS IN THE FONT SOFTWARE.
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1 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 2 +This license is copied below, and is also available with a FAQ at: 3 +http://scripts.sil.org/OFL 4 + 5 + 6 +----------------------------------------------------------- 7 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 8 +----------------------------------------------------------- 9 + 10 +PREAMBLE 11 +The goals of the Open Font License (OFL) are to stimulate worldwide 12 +development of collaborative font projects, to support the font creation 13 +efforts of academic and linguistic communities, and to provide a free and 14 +open framework in which fonts may be shared and improved in partnership 15 +with others. 16 + 17 +The OFL allows the licensed fonts to be used, studied, modified and 18 +redistributed freely as long as they are not sold by themselves. The 19 +fonts, including any derivative works, can be bundled, embedded, 20 +redistributed and/or sold with any software provided that any reserved 21 +names are not used by derivative works. The fonts and derivatives, 22 +however, cannot be released under any other type of license. The 23 +requirement for fonts to remain under this license does not apply 24 +to any document created using the fonts or their derivatives. 25 + 26 +DEFINITIONS 27 +"Font Software" refers to the set of files released by the Copyright 28 +Holder(s) under this license and clearly marked as such. This may 29 +include source files, build scripts and documentation. 30 + 31 +"Reserved Font Name" refers to any names specified as such after the 32 +copyright statement(s). 33 + 34 +"Original Version" refers to the collection of Font Software components as 35 +distributed by the Copyright Holder(s). 36 + 37 +"Modified Version" refers to any derivative made by adding to, deleting, 38 +or substituting -- in part or in whole -- any of the components of the 39 +Original Version, by changing formats or by porting the Font Software to a 40 +new environment. 41 + 42 +"Author" refers to any designer, engineer, programmer, technical 43 +writer or other person who contributed to the Font Software. 44 + 45 +PERMISSION & CONDITIONS 46 +Permission is hereby granted, free of charge, to any person obtaining 47 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 48 +redistribute, and sell modified and unmodified copies of the Font 49 +Software, subject to the following conditions: 50 + 51 +1) Neither the Font Software nor any of its individual components, 52 +in Original or Modified Versions, may be sold by itself. 53 + 54 +2) Original or Modified Versions of the Font Software may be bundled, 55 +redistributed and/or sold with any software, provided that each copy 56 +contains the above copyright notice and this license. These can be 57 +included either as stand-alone text files, human-readable headers or 58 +in the appropriate machine-readable metadata fields within text or 59 +binary files as long as those fields can be easily viewed by the user. 60 + 61 +3) No Modified Version of the Font Software may use the Reserved Font 62 +Name(s) unless explicit written permission is granted by the corresponding 63 +Copyright Holder. This restriction only applies to the primary font name as 64 +presented to the users. 65 + 66 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 67 +Software shall not be used to promote, endorse or advertise any 68 +Modified Version, except to acknowledge the contribution(s) of the 69 +Copyright Holder(s) and the Author(s) or with their explicit written 70 +permission. 71 + 72 +5) The Font Software, modified or unmodified, in part or in whole, 73 +must be distributed entirely under this license, and must not be 74 +distributed under any other license. The requirement for fonts to 75 +remain under this license does not apply to any document created 76 +using the Font Software. 77 + 78 +TERMINATION 79 +This license becomes null and void if any of the above conditions are 80 +not met. 81 + 82 +DISCLAIMER 83 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 84 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 85 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 86 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 87 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 88 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 89 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 90 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 91 +OTHER DEALINGS IN THE FONT SOFTWARE.
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1 +Eine kurze deutsche Zusammenfassung der OFL finden Sie auf: 2 +http://de.wikipedia.org/wiki/SIL_Open_Font_License 3 + 4 + 5 + 6 +OFL FAQ - Frequently Asked Questions about the SIL Open Font License (OFL) 7 +Version 1.1-update1 - 31 March 2009 8 +(See http://scripts.sil.org/OFL for updates) 9 + 10 + 11 +1 ABOUT USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL 12 + 13 +1.1 Can I use the fonts in any publication, even embedded in the file? 14 +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. 15 + 16 +1.2 Can I make web pages using these fonts? 17 +Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended. Direct usage of fonts retrieved from a remote server - also referred to as font linking - using cross-platform open standards like @font-face is encouraged. This is considered to be use and distribution for which the OFL explicitly grants permission. The font file itself is not embedded in the webpage but referenced through a web address (i.e. a URI regardless of file format or access protocol) which will cause the browser to retrieve and use the corresponding font to render the webpage. This usage scenario is different from font embedding within a document (i.e. a PDF) where the font or some of its elements become part of the document. Note that embedding in a document is also permitted by the license as indicated in 1.1. (See 1.10 for details related to URL-based access restrictions methods or DRM mechanisms). 18 + 19 +1.3 Can I make the fonts available to others from my web site? 20 +Yes, as long as you meet the conditions of the license (do not sell by itself, include the necessary files, include the necessary copyright and license information, rename Modified Versions, do not abuse the Author(s)' name(s) and do not sublicense). In the case where you are hosting fonts to be served on the web, make sure the file contains the needed copyright notice(s) and licensing information in its metadata. Please double-check the accuracy of every field to prevent contradictory information. If you are making the font available for use via the @font-face open standard, putting this information in the standard font metadata fields is sufficient. Other font formats, including EOT and proposed superior alternatives, already provide fields for this information. 21 + 22 +1.4 Can the fonts be included with Free/Libre and Open Source Software collections such as GNU/Linux and BSD distributions? 23 +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. 24 + 25 +1.5 I want to distribute the fonts with my program. Does this mean my program also has to be free/libre and open source software? 26 +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. 27 + 28 +1.6 Can I include the fonts on a CD of freeware or commercial fonts? 29 +Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself. 30 + 31 +1.7 Can I sell a software package that includes these fonts? 32 +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. 33 + 34 +1.8 Why won't the OFL let me sell the fonts alone? 35 +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! 36 + 37 +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? 38 +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. 39 + 40 +1.10 What do you mean in condition 4? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement? 41 +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. 42 + 43 +1.11 Can Font Software released under the OFL be subject to URL-based access restrictions methods or DRM mechanisms? 44 +Yes, but these issues are out-of-scope for the OFL. The license itself neither encourages their use nor prohibits them since such mechanisms are not implemented in the components of the Font Software but through external software. Such restrictions are put in place for many different purposes corresponding to various usage scenarios. One common example is to limit potentially dangerous cross-site scripting attacks. However, in the spirit of libre/open fonts and unrestricted writing systems, we strongly encourage open sharing and reuse of OFL fonts, and the establishment of an environment where such restrictions are unnecessary. Note that whether you wish to use such mechanisms or you prefer not to, you must still abide by the rules set forth by the OFL when using fonts released by their authors under this license. Derivative fonts must be licensed under the OFL, even if they are part of a service for which you charge fees and/or for which access to source code is restricted. You may not sell the fonts on their own - they must be part of a larger software package or bundle. For example, even if the OFL font is distributed in a software package or via an online service using a DRM mechanism, the user would still have the right to extract that font, use, study, modify and redistribute it under the OFL. 45 + 46 +1.12 What about distributing fonts with a document? Within a compressed folder structure like an OpenDocument file (.odt) for example? Is it redistribution, bundling or embedding? 47 +The vast majority of the time, documents circulated in electronic form reference a font name which will match the corresponding font on the target system but do not carry the font within themselves. There may, however, be some cases where you need to bundle a font with the document. Certain document formats may allow the inclusion of an unmodified font within their file structure which consists of a compressed folder containing the various resources forming the document (such as pictures and thumbnails). Including fonts within such a structure is understood as being different from embedding but rather similar to bundling (or mere aggregation) for which the licensing makes explicit provision. In this case the font is conveyed unchanged whereas embedding a font transforms it from the original format. The OFL does not allow anyone to extract the font from such a structure to then redistribute it under another license. The explicit permission to redistribute and embed does not cancel the requirement for the Font Software to remain under the license chosen by its Author(s). 48 + 49 +1.13 If OFL fonts are extracted from a document in which they are embedded (such as a PDF file), what can be done with them? Is this a risk to Author(s)? 50 +The few utilities that can extract fonts embedded in a PDF will only output limited amounts of outlines - not a complete font. To create a working font from this method is much more difficult than finding the source of the original OFL font. So there is little chance that an OFL font would be extracted and redistributed inappropriately through this method. Even so, copyright laws address any misrepresentation of authorship. All Font Software released under the OFL and marked as such by the Author(s) is intended to remain under this license regardless of the distribution method, and cannot be redistributed under any other license. We strongly discourage any font extraction - we recommend directly using the font sources instead - but if you extract font outlines from a document please be considerate, use your common sense and respect the work of the Author(s) and the licensing model. 51 + 52 +1.14 What about sharing OFL fonts with friends on a CD, DVD or USB stick? 53 +You are very welcome to share open fonts with friends, family and colleagues on such removable media. Please make sure that you share and share-alike as much as possible from what the Author(s) released and that you don't strip away useful information which may not be present in the binary font files themselves. Just remember that in the case where you sell the font, it has to come bundled with software. 54 + 55 + 56 +2 ABOUT MODIFYING OFL LICENSED FONTS 57 + 58 +2.1 Can I change the fonts? Are there any limitations to what things I can and cannot change? 59 +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. 60 + 61 +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? 62 +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. 63 + 64 +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? 65 +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. 66 + 67 +2.4 Can I pay someone to enhance the fonts for my use and distribution? 68 +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. 69 + 70 +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? 71 +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. 72 + 73 +2.6 Do I have to make any derivative fonts (including extended source files, build scripts, documentation, etc.) publicly available? 74 +No, but please do share your improvements with others. You may find that you receive more than what you gave in return. 75 + 76 +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. 77 +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. 78 + 79 +2.8 What do you mean by "primary name as presented to the user"? Are you referring to the font menu name? 80 +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. 81 + 82 +2.9 Am I not allowed to use any part of the Reserved Font Names? 83 +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. 84 + 85 +2.10 So what should I, as an author, identify as Reserved Font Names? 86 +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". 87 + 88 +2.11 Do I, as an author, have to identify any Reserved Font Names? 89 +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. 90 + 91 +2.12 Are any names (such as the main font name) reserved by default? 92 +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). 93 + 94 +2.13 What is this FONTLOG thing exactly? 95 +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. 96 + 97 +2.14 Am I required to update the FONTLOG? 98 +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. 99 + 100 + 101 +3 ABOUT THE FONTLOG 102 + 103 +The FONTLOG can take a variety of formats, but should include these four sections: 104 + 105 +3.1 FONTLOG for <FontFamilyName> 106 +This file provides detailed information on the <FontFamilyName> Font Software. This information should be distributed along with the <FontFamilyName> fonts and any derivative works. 107 + 108 +3.2 Basic Font Information 109 +(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.) 110 + 111 +3.3 ChangeLog 112 +(This should list both major and minor changes, most recent first. Here are some examples:) 113 + 114 +7 February 2007 (Pat Johnson) <NewFontFamilyName> Version 1.3 115 +- Added Greek and Cyrillic glyphs 116 +- Released as "<NewFontFamilyName>" 117 + 118 +7 March 2006 (Fred Foobar) <NewFontFamilyName> Version 1.2 119 +- Tweaked contextual behaviours 120 +- Released as "<NewFontFamilyName>" 121 + 122 +1 Feb 2005 (Jane Doe) <NewFontFamilyName> Version 1.1 123 +- Improved build script performance and verbosity 124 +- Extended the smart code documentation 125 +- Corrected minor typos in the documentation 126 +- Fixed position of combining inverted breve below (U+032F) 127 +- Added OpenType/Graphite smart code for Armenian 128 +- Added Armenian glyphs (U+0531 -> U+0587) 129 +- Released as "<NewFontFamilyName>" 130 + 131 +1 Jan 2005 (Joe Smith) <FontFamilyName> Version 1.0 132 +- Initial release of font "<FontFamilyName>" 133 + 134 +3.4 Acknowledgements 135 +(Here is where contributors can be acknowledged. 136 + 137 +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.) 138 + 139 +N: Jane Doe 140 +E: jane@university.edu 141 +W: http://art.university.edu/projects/fonts 142 +D: Contributor - Armenian glyphs and code 143 + 144 +N: Fred Foobar 145 +E: fred@foobar.org 146 +W: http://foobar.org 147 +D: Contributor - misc Graphite fixes 148 + 149 +N: Pat Johnson 150 +E: pat@fontstudio.org 151 +W: http://pat.fontstudio.org 152 +D: Designer - Greek & Cyrillic glyphs based on Roman design 153 + 154 +N: Tom Parker 155 +E: tom@company.com 156 +W: http://www.company.com/tom/projects/fonts 157 +D: Engineer - original smart font code 158 + 159 +N: Joe Smith 160 +E: joe@fontstudio.org 161 +W: http://joe.fontstudio.org 162 +D: Designer - original Roman glyphs 163 + 164 +(Original authors can also include information here about their organization.) 165 + 166 + 167 +4 ABOUT MAKING CONTRIBUTIONS 168 + 169 +4.1 Why should I contribute my changes back to the original authors? 170 +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. 171 + 172 +4.2 I've made some very nice improvements to the font, will you consider adopting them and putting them into future Original Versions? 173 +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, mercurial, git 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. 174 + 175 +4.3 How can I financially support the development of OFL fonts? 176 +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. 177 + 178 +(In case of the font, that comes with this copy of the FAQ-file, you will find a paypal(tm) donation link on the fonts-page of www.peter-wiegel.de) 179 + 180 + 181 +5 ABOUT THE LICENSE 182 + 183 +5.1 I see that this is version 1.1 of the license. Will there be later changes? 184 +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. 185 + 186 +5.2 Can I use the SIL Open Font License for my own fonts? 187 +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. 188 + 189 +5.3 Does this license restrict the rights of the Copyright Holder(s)? 190 +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. 191 + 192 +5.4 Is the OFL a contract or a license? 193 +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. 194 + 195 +5.5 How about translating the license and the FAQ into other languages? 196 +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. 197 + 198 +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. 199 + 200 +We give permission to publish unofficial translations into other languages provided that they comply with the following guidelines: 201 + 202 +- put the following disclaimer in both English and the target language stating clearly that the translation is unofficial: 203 + 204 +"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. 205 + 206 +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. 207 + 208 +Please go to http://scripts.sil.org/OFL for the official version of the license and the accompanying FAQ." 209 + 210 +- 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. 211 + 212 +If you start such a unofficial translation effort of the OFL and its accompanying FAQ please let us know, thank you. 213 + 214 + 215 +6 ABOUT SIL INTERNATIONAL 216 + 217 +6.1 Who is SIL International and what does it do? 218 +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. 219 + 220 +6.2 What does this have to do with font licensing? 221 +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. 222 + 223 +6.3 How can I contact SIL? 224 +Our main web site is: http://www.sil.org/ 225 +Our site about complex scripts is: http://scripts.sil.org/ 226 +Information about this license (including contact email information) is at: http://scripts.sil.org/OFL 227 + 228 + 229 +7 ABOUT USING THE OFL FOR YOUR ORIGINAL FONTS 230 + 231 +If you want to release your fonts under the OFL, you only need to do the following: 232 + 233 +7.1 Put your copyright and reserved font names information in the beginning of the main OFL file (simply use the dedicated placeholders). 234 +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). Accurate metadata in your font files is beneficial to you as an increasing number of applications are exposing this information to the user. For example, clickable links can bring users back to your website and let them know about other work you have done or services you provide. Depending on the format of your fonts and sources, you can use template human-readable headers or machine-readable metadata. 235 +7.3 Write an initial FONTLOG for your font and include it in the release package. 236 +7.4 Include the OFL license file in your release package. 237 +7.5 We also highly recommend you include the relevant practical documentation on the license by putting the OFL-FAQ in your package. 238 +7.6 If you wish, you can use the OFL Graphics on your web page. 239 + 240 +That's all. If you have any more questions please get in touch with us. 241 + 242 +
1 +Copyright (c) 2009, Peter Wiegel, www.peter-wiegel.de, wiegel@peter-wiegel.de 2 +with Reserved Font Name Murrx. 3 + 4 + 5 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 6 +This license is copied below, and is also available with a FAQ at: 7 +http://scripts.sil.org/OFL 8 + 9 + 10 +----------------------------------------------------------- 11 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 12 +----------------------------------------------------------- 13 + 14 +PREAMBLE 15 +The goals of the Open Font License (OFL) are to stimulate worldwide 16 +development of collaborative font projects, to support the font creation 17 +efforts of academic and linguistic communities, and to provide a free and 18 +open framework in which fonts may be shared and improved in partnership 19 +with others. 20 + 21 +The OFL allows the licensed fonts to be used, studied, modified and 22 +redistributed freely as long as they are not sold by themselves. The 23 +fonts, including any derivative works, can be bundled, embedded, 24 +redistributed and/or sold with any software provided that any reserved 25 +names are not used by derivative works. The fonts and derivatives, 26 +however, cannot be released under any other type of license. The 27 +requirement for fonts to remain under this license does not apply 28 +to any document created using the fonts or their derivatives. 29 + 30 +DEFINITIONS 31 +"Font Software" refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +"Reserved Font Name" refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +"Original Version" refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +"Modified Version" refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +"Author" refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 +PERMISSION & CONDITIONS 50 +Permission is hereby granted, free of charge, to any person obtaining 51 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 52 +redistribute, and sell modified and unmodified copies of the Font 53 +Software, subject to the following conditions: 54 + 55 +1) Neither the Font Software nor any of its individual components, 56 +in Original or Modified Versions, may be sold by itself. 57 + 58 +2) Original or Modified Versions of the Font Software may be bundled, 59 +redistributed and/or sold with any software, provided that each copy 60 +contains the above copyright notice and this license. These can be 61 +included either as stand-alone text files, human-readable headers or 62 +in the appropriate machine-readable metadata fields within text or 63 +binary files as long as those fields can be easily viewed by the user. 64 + 65 +3) No Modified Version of the Font Software may use the Reserved Font 66 +Name(s) unless explicit written permission is granted by the corresponding 67 +Copyright Holder. This restriction only applies to the primary font name as 68 +presented to the users. 69 + 70 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 71 +Software shall not be used to promote, endorse or advertise any 72 +Modified Version, except to acknowledge the contribution(s) of the 73 +Copyright Holder(s) and the Author(s) or with their explicit written 74 +permission. 75 + 76 +5) The Font Software, modified or unmodified, in part or in whole, 77 +must be distributed entirely under this license, and must not be 78 +distributed under any other license. The requirement for fonts to 79 +remain under this license does not apply to any document created 80 +using the Font Software. 81 + 82 +TERMINATION 83 +This license becomes null and void if any of the above conditions are 84 +not met. 85 + 86 +DISCLAIMER 87 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 88 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 89 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 90 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 91 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 92 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 93 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 94 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 95 +OTHER DEALINGS IN THE FONT SOFTWARE.
1 +OIFL - Open Inclusif·ve Fonte Licence 2 + 3 +• Copyright (c) - 2023 - Max Lillo - (https://maxlilllo.tumblr.com / maxlilllo@protonmail.com), avec le nom réservé suivant : Ébullition. Cette fonte informatique est licenciée sous la licence SIL Open Font Licence, Version 1.1 4 +Cette licence figure ci dessous, et est aussi disponible, ainsi qu’une FAQ, à l’adresse : http://scripts.sil.org/OFL SIL OPEN FONT LICENCE Version 1.1 - 26 Février 2007 - PRÉAMBULE DU·DELA TRADUCTEUR·ICE L’appellation anglaise OFL a été conservée pour éviter d’introduire un nouvel acronyme. De même, le mot fonte a été utilisé, comme synonyme de police de caractère. 5 + 6 +PRÉAMBULE : Le but de la licence OFL est de stimuler le développement collaboratif de fontes à travers le monde, d’aider à la création de fontes dans les communautés académiques ou linguistiques, et de fournir un cadre libre et ouvert à travers lequel ces fontes peuvent être partagées et améliorées de manière collective. Les fontes sous licence OFL peuvent être utilisées, étudiées, modifiées et redistribuées librement, tant qu’elles ne sont pas vendues par elles-même. Les fontes, ainsi que tous leurs dérivés, peuvent être fournies avec, incorporées, redistribuées et/ou vendues avec des logiciels quelconques, sous réserve que les appellations réservées ne soient pas utilisées dans les produits dérivés. La licence des fontes et de leurs produits dérivés ne peut cependant pas être modifiée. Cette obligation de conserver la licence OFL pour les fontes et leurs produits dérivés ne s’applique pas aux documents crées avec. 7 + 8 +DÉFINITIONS : • L’appellation « fonte informatique » désigne l’ensemble des fichiers mis à disposition par le(s) titulaire(s) du copyright sous cette licence et clairement identifiés comme tels. Cela peut inclure des sources, des scripts de génération, de la documentation. • L’ appellation ‘nom de fonte réservé’ désigne n’importe quel nom désigné comme tel dans le copyright. ‘Version originale’ désigne une ‘fonte informatique’ telle que distribuée par le(s) titulaire(s) du copyright. • ‘Version modifiée’ désigne tout travail dérivé obtenu en ajoutant SIL Open Font Licence, supprimant ou remplaçant tout ou partie de n’importe quel élément de la ‘version originale’, en changeant de format ou en portant la ‘fonte informatique’ vers un nouvel environnement. • ‘l’Auteur·ice’ désigne un·e créateur·ice, ingénieur·se, programmeur·se, auteur·ice technique ou tout autre personne ayant contribué à la ‘fonte informatique’. 9 + 10 +PERMISSIONS ET CONDITIONS : La permission est ici accordée, sans contrepartie, à toute personne ayant obtenu une copie de la ‘fonte informatique’ de l’utiliser, l’étudier, la copier, la fusionner, l’inclure, la modifier, la redistribuer et la vendre, modifiée ou non, aux conditions suivantes : • La ‘fonte informatique’, en tout ou partie, en version originale ou modifiée, ne peut être vendue par elle même. • Les versions originales ou modifiées de la ‘fonte informatique’ peuvent être liées, redistribuées et/ou vendues avec n’importe quel logiciel, à condition que chaque copie contienne la déclaration de copyright ci-dessus ainsi que cette licence. • Ces pièces peuvent être soit des fichiers textes autonomes, des entêtes de fichiers accessibles à une lecteur·ice humain·e, ou figurer dans des méta-données accessibles par programme, dans des fichiers textes ou binaires, tant que leur texte est facilement accessible à un·e utilisateueur·ice. • Aucune version modifiée de la ‘fonte informatique’ ne peut utiliser les noms réservés sans autorisation écrite expresse du·dela propriétaire du copyright. Cette restriction ne s’applique qu’au nom principal de la police tel que présenté à l’utilisateur·ice. • Le ou les noms un·e titulaire du copyright et ceux du ou des auteur·ices ne peuvent pas être utilisés pour promouvoir, conseiller ou faire de la publicité pour des versions modifiées, sauf pour rappeler leur(s) contribution(s), ou alors avec leur autorisation écrite expresse. • La ‘fonte informatique’, modifiée ou non, en tout ou partie, doit être distribuée avec exactement cette même licence. Cette obligation de conserver la licence ne s’applique pas aux documents crées en utilisant la ‘fonte informatique’. 11 +FIN DE CONTRAT : 12 +Cette licence devient nulle et sans objet si l’une quelconque des conditions ci dessus n’est pas remplie. 13 + 14 +CLAUSE DE NON RESPONSABILITÉ : LA FONTE INFORMATIQUE EST FOURNIE TELLE QUELLE, SANS GARANTIE D’AUCUNE SORTE, NI IMPLICITE NI EXPLICITE, Y COMPRIS ET DE MANIÈRE NON LIMITATIVE SANS GARANTIE DE COMMERCIABILITÉ, DE CONFORMITÉ À UNE UTILISATION PARTICULIÈRE, DE RESPECT DES COPYRIGHTS, BREVETS, MARQUES COMMERCIALES OU AUTRES DROITS. EN AUCUN CAS L TITULAIRE DU COPYRIGHT NE POURRA ÊTRE TENU POUR RESPONSABLE EN CAS DE RÉCLAMATION, DOMMAGE OU AUTRE CONSÉQUENCE, Y COMPRIS AUCUN DOMMAGE GÉNÉRAL, SPÉCIFIQUE, INDIRECT, INCIDENT OU RÉSULTANT, QUE CE SOIT CONTRACTUELLEMENT, À TITRE DE DÉDOMMAGEMENT OU AUTREMENT, SURVENANT SUITE À L’USAGE OU L’IMPOSSIBILITÉ D’USAGE DE LA FONTE INFORMATIQUE, OU TOUTE AUTRE AFFAIRE IMPLIQUANT LA FONTE INFORMATIQUE. – Pierre Hanser, Ré-écriture par Bye Bye Binary
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11179 +} 11180 +); 11181 +width = 576; 11182 +} 11183 +); 11184 +note = seven; 11185 +unicode = 55; 11186 +}, 11187 +{ 11188 +glyphname = eight; 11189 +lastChange = "2023-08-27 17:38:11 +0000"; 11190 +layers = ( 11191 +{ 11192 +layerId = m002; 11193 +shapes = ( 11194 +{ 11195 +closed = 1; 11196 +nodes = ( 11197 +(256,115,o), 11198 +(242,128,o), 11199 +(224,128,cs), 11200 +(206,128,o), 11201 +(192,142,o), 11202 +(192,160,cs), 11203 +(192,178,o), 11204 +(178,192,o), 11205 +(160,192,cs), 11206 +(142,192,o), 11207 +(128,208,o), 11208 +(128,228,cs), 11209 +(128,284,ls), 11210 +(128,304,o), 11211 +(114,320,o), 11212 +(96,320,cs), 11213 +(78,320,o), 11214 +(64,306,o), 11215 +(64,288,cs), 11216 +(64,270,o), 11217 +(50,256,o), 11218 +(32,256,cs), 11219 +(14,256,o), 11220 +(0,240,o), 11221 +(0,220,cs), 11222 +(0,164,ls), 11223 +(0,144,o), 11224 +(14,128,o), 11225 +(32,128,cs), 11226 +(50,128,o), 11227 +(64,114,o), 11228 +(64,96,cs), 11229 +(64,78,o), 11230 +(78,64,o), 11231 +(96,64,cs), 11232 +(114,64,o), 11233 +(128,50,o), 11234 +(128,32,cs), 11235 +(128,14,o), 11236 +(144,0,o), 11237 +(164,0,cs), 11238 +(348,0,ls), 11239 +(368,0,o), 11240 +(384,14,o), 11241 +(384,32,cs), 11242 +(384,50,o), 11243 +(368,64,o), 11244 +(348,64,cs), 11245 +(292,64,ls), 11246 +(272,64,o), 11247 +(256,78,o), 11248 +(256,96,cs) 11249 +); 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11345 +}, 11346 +{ 11347 +closed = 1; 11348 +nodes = ( 11349 +(448,435,o), 11350 +(462,448,o), 11351 +(480,448,cs), 11352 +(498,448,o), 11353 +(512,464,o), 11354 +(512,484,cs), 11355 +(512,604,ls), 11356 +(512,624,o), 11357 +(498,640,o), 11358 +(480,640,cs), 11359 +(462,640,o), 11360 +(448,654,o), 11361 +(448,672,cs), 11362 +(448,690,o), 11363 +(432,704,o), 11364 +(412,704,cs), 11365 +(164,704,ls), 11366 +(144,704,o), 11367 +(128,690,o), 11368 +(128,672,cs), 11369 +(128,654,o), 11370 +(144,640,o), 11371 +(164,640,cs), 11372 +(284,640,ls), 11373 +(304,640,o), 11374 +(320,626,o), 11375 +(320,608,cs), 11376 +(320,590,o), 11377 +(334,576,o), 11378 +(352,576,cs), 11379 +(370,576,o), 11380 +(384,560,o), 11381 +(384,540,cs), 11382 +(384,420,ls), 11383 +(384,400,o), 11384 +(398,384,o), 11385 +(416,384,cs), 11386 +(434,384,o), 11387 +(448,398,o), 11388 +(448,416,cs) 11389 +); 11390 +} 11391 +); 11392 +width = 576; 11393 +} 11394 +); 11395 +note = eight; 11396 +unicode = 56; 11397 +}, 11398 +{ 11399 +glyphname = nine; 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1 +# Prefix: Languagesystems 2 +# automatic 3 +languagesystem DFLT dflt; 4 + 5 +languagesystem latn dflt; 6 +languagesystem latn AZE; 7 +languagesystem latn CRT; 8 +languagesystem latn KAZ; 9 +languagesystem latn TAT; 10 +languagesystem latn TRK; 11 +languagesystem latn NLD; 12 + 13 +feature aalt { 14 +# automatic 15 +feature locl; 16 +} aalt; 17 + 18 +feature ccmp { 19 +# automatic 20 +lookup ccmp_Other_1 { 21 + @CombiningTopAccents = [acutecomb uni0302 uni0308 uni0307 gravecomb uni030A tildecomb]; 22 + @CombiningNonTopAccents = [uni0327]; 23 + sub [i j]' @CombiningTopAccents by [dotlessi uni0237]; 24 + sub [i j]' @CombiningNonTopAccents @CombiningTopAccents by [dotlessi uni0237]; 25 +} ccmp_Other_1; 26 +} ccmp; 27 + 28 +feature locl { 29 +# automatic 30 +lookup locl_latn_0 { 31 + script latn; 32 + language AZE; 33 + sub i by i; 34 + language CRT; 35 + sub i by i; 36 + language KAZ; 37 + sub i by i; 38 + language TAT; 39 + sub i by i; 40 + language TRK; 41 + sub i by i; 42 +} locl_latn_0; 43 + 44 +lookup locl_latn_1 { 45 + script latn; 46 + language NLD; 47 + sub iacute j' by uni006A0301; 48 + sub Iacute J' by uni004A0301; 49 +} locl_latn_1; 50 +} locl; 51 +
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1 +OIFL - Open Inclusif·ve Fonte Licence 2 + 3 +• Copyright (c) - 2025 - Elliot Thomas - avec le nom réservé suivant : Ouest. 4 + Cette fonte informatique est licenciée sous la licence SIL Open Font Licence, Version 1.1 5 +Cette licence figure ci dessous, et est aussi disponible, ainsi qu'une FAQ, à l'adresse : http://scripts.sil.org/OFL SIL OPEN FONT LICENCE Version 1.1 - 26 Février 2007 - PRÉAMBULE DU·DELA TRADUCTEUR·ICE L'appellation anglaise OFL a été conservée pour éviter d'introduire un nouvel acronyme. De même, le mot fonte a été utilisé, comme synonyme de police de caractère. 6 + 7 +PRÉAMBULE : Le but de la licence OFL est de stimuler le développement collaboratif de fontes à travers le monde, d'aider à la création de fontes dans les communautés académiques ou linguistiques, et de fournir un cadre libre et ouvert à travers lequel ces fontes peuvent être partagées et améliorées de manière collective. Les fontes sous licence OFL peuvent être utilisées, étudiées, modifiées et redistribuées librement, tant qu'elles ne sont pas vendues par elles-même. Les fontes, ainsi que tous leurs dérivés, peuvent être fournies avec, incorporées, redistribuées et/ou vendues avec des logiciels quelconques, sous réserve que les appellations réservées ne soient pas utilisées dans les produits dérivés. La licence des fontes et de leurs produits dérivés ne peut cependant pas être modifiée. Cette obligation de conserver la licence OFL pour les fontes et leurs produits dérivés ne s'applique pas aux documents crées avec. 8 + 9 +DÉFINITIONS : • L'appellation « fonte informatique » désigne l'ensemble des fichiers mis à disposition par le(s) titulaire(s) du copyright sous cette licence et clairement identifiés comme tels. Cela peut inclure des sources, des scripts de génération, de la documentation. • L' appellation 'nom de fonte réservé' désigne n'importe quel nom désigné comme tel dans le copyright. 'Version originale' désigne une 'fonte informatique' telle que distribuée par le(s) titulaire(s) du copyright. • 'Version modifiée' désigne tout travail dérivé obtenu en ajoutant SIL Open Font Licence, supprimant ou remplaçant tout ou partie de n'importe quel élément de la 'version originale', en changeant de format ou en portant la 'fonte informatique' vers un nouvel environnement. • 'l'Auteur·ice' désigne un·e créateur·ice, ingénieur·se, programmeur·se, auteur·ice technique ou tout autre personne ayant contribué à la 'fonte informatique'. 10 + 11 +PERMISSIONS ET CONDITIONS : La permission est ici accordée, sans contrepartie, à toute personne ayant obtenu une copie de la 'fonte informatique' de l'utiliser, l'étudier, la copier, la fusionner, l'inclure, la modifier, la redistribuer et la vendre, modifiée ou non, aux conditions suivantes : • La 'fonte informatique', en tout ou partie, en version originale ou modifiée, ne peut être vendue par elle même. • Les versions originales ou modifiées de la 'fonte informatique' peuvent être liées, redistribuées et/ou vendues avec n'importe quel logiciel, à condition que chaque copie contienne la déclaration de copyright ci-dessus ainsi que cette licence. • Ces pièces peuvent être soit des fichiers textes autonomes, des entêtes de fichiers accessibles à une lecteur·ice humain·e, ou figurer dans des méta-données accessibles par programme, dans des fichiers textes ou binaires, tant que leur texte est facilement accessible à un·e utilisateueur·ice. • Aucune version modifiée de la 'fonte informatique' ne peut utiliser les noms réservés sans autorisation écrite expresse du·dela propriétaire du copyright. Cette restriction ne s'applique qu'au nom principal de la police tel que présenté à l'utilisateur·ice. • Le ou les noms un·e titulaire du copyright et ceux du ou des auteur·ices ne peuvent pas être utilisés pour promouvoir, conseiller ou faire de la publicité pour des versions modifiées, sauf pour rappeler leur(s) contribution(s), ou alors avec leur autorisation écrite expresse. • La 'fonte informatique', modifiée ou non, en tout ou partie, doit être distribuée avec exactement cette même licence. Cette obligation de conserver la licence ne s'applique pas aux documents crées en utilisant la 'fonte informatique'. 12 + 13 +FIN DE CONTRAT : Cette licence devient nulle et sans objet si l'une quelconque des conditions ci dessus n'est pas remplie. 14 + 15 +CLAUSE DE NON RESPONSABILITÉ : LA FONTE INFORMATIQUE EST FOURNIE TELLE QUELLE, SANS GARANTIE D'AUCUNE SORTE, NI IMPLICITE NI EXPLICITE, Y COMPRIS ET DE MANIÈRE NON LIMITATIVE SANS GARANTIE DE COMMERCIABILITÉ, DE CONFORMITÉ À UNE UTILISATION PARTICULIÈRE, DE RESPECT DES COPYRIGHTS, BREVETS, MARQUES COMMERCIALES OU AUTRES DROITS. EN AUCUN CAS L TITULAIRE DU COPYRIGHT NE POURRA ÊTRE TENU POUR RESPONSABLE EN CAS DE RÉCLAMATION, DOMMAGE OU AUTRE CONSÉQUENCE, Y COMPRIS AUCUN DOMMAGE GÉNÉRAL, SPÉCIFIQUE, INDIRECT, INCIDENT OU RÉSULTANT, QUE CE SOIT CONTRACTUELLEMENT, À TITRE DE DÉDOMMAGEMENT OU AUTREMENT, SURVENANT SUITE À L'USAGE OU L'IMPOSSIBILITÉ D'USAGE DE LA FONTE INFORMATIQUE, OU TOUTE AUTRE AFFAIRE IMPLIQUANT LA FONTE INFORMATIQUE. – Pierre Hanser, Ré-écriture par Bye Bye Binary.
1 +Copyright 2023 The Special Gothic Project Authors (https://github.com/AlistairMcCready/Special-Gothic/) 2 + 3 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 4 +This license is copied below, and is also available with a FAQ at: 5 +https://openfontlicense.org 6 + 7 + 8 +----------------------------------------------------------- 9 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 10 +----------------------------------------------------------- 11 + 12 +PREAMBLE 13 +The goals of the Open Font License (OFL) are to stimulate worldwide 14 +development of collaborative font projects, to support the font creation 15 +efforts of academic and linguistic communities, and to provide a free and 16 +open framework in which fonts may be shared and improved in partnership 17 +with others. 18 + 19 +The OFL allows the licensed fonts to be used, studied, modified and 20 +redistributed freely as long as they are not sold by themselves. The 21 +fonts, including any derivative works, can be bundled, embedded, 22 +redistributed and/or sold with any software provided that any reserved 23 +names are not used by derivative works. The fonts and derivatives, 24 +however, cannot be released under any other type of license. The 25 +requirement for fonts to remain under this license does not apply 26 +to any document created using the fonts or their derivatives. 27 + 28 +DEFINITIONS 29 +"Font Software" refers to the set of files released by the Copyright 30 +Holder(s) under this license and clearly marked as such. This may 31 +include source files, build scripts and documentation. 32 + 33 +"Reserved Font Name" refers to any names specified as such after the 34 +copyright statement(s). 35 + 36 +"Original Version" refers to the collection of Font Software components as 37 +distributed by the Copyright Holder(s). 38 + 39 +"Modified Version" refers to any derivative made by adding to, deleting, 40 +or substituting -- in part or in whole -- any of the components of the 41 +Original Version, by changing formats or by porting the Font Software to a 42 +new environment. 43 + 44 +"Author" refers to any designer, engineer, programmer, technical 45 +writer or other person who contributed to the Font Software. 46 + 47 +PERMISSION & CONDITIONS 48 +Permission is hereby granted, free of charge, to any person obtaining 49 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 50 +redistribute, and sell modified and unmodified copies of the Font 51 +Software, subject to the following conditions: 52 + 53 +1) Neither the Font Software nor any of its individual components, 54 +in Original or Modified Versions, may be sold by itself. 55 + 56 +2) Original or Modified Versions of the Font Software may be bundled, 57 +redistributed and/or sold with any software, provided that each copy 58 +contains the above copyright notice and this license. These can be 59 +included either as stand-alone text files, human-readable headers or 60 +in the appropriate machine-readable metadata fields within text or 61 +binary files as long as those fields can be easily viewed by the user. 62 + 63 +3) No Modified Version of the Font Software may use the Reserved Font 64 +Name(s) unless explicit written permission is granted by the corresponding 65 +Copyright Holder. This restriction only applies to the primary font name as 66 +presented to the users. 67 + 68 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 69 +Software shall not be used to promote, endorse or advertise any 70 +Modified Version, except to acknowledge the contribution(s) of the 71 +Copyright Holder(s) and the Author(s) or with their explicit written 72 +permission. 73 + 74 +5) The Font Software, modified or unmodified, in part or in whole, 75 +must be distributed entirely under this license, and must not be 76 +distributed under any other license. The requirement for fonts to 77 +remain under this license does not apply to any document created 78 +using the Font Software. 79 + 80 +TERMINATION 81 +This license becomes null and void if any of the above conditions are 82 +not met. 83 + 84 +DISCLAIMER 85 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 86 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 87 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 88 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 89 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 90 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 91 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 92 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 93 +OTHER DEALINGS IN THE FONT SOFTWARE.
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1 +Copyright 2018 The Baskervville Project Authors (https://github.com/anrt-type/ANRT-Baskervville) 2 + 3 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 4 +This license is copied below, and is also available with a FAQ at: 5 +https://scripts.sil.org/OFL 6 + 7 + 8 +----------------------------------------------------------- 9 +SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007 10 +----------------------------------------------------------- 11 + 12 +PREAMBLE 13 +The goals of the Open Font License (OFL) are to stimulate worldwide 14 +development of collaborative font projects, to support the font creation 15 +efforts of academic and linguistic communities, and to provide a free and 16 +open framework in which fonts may be shared and improved in partnership 17 +with others. 18 + 19 +The OFL allows the licensed fonts to be used, studied, modified and 20 +redistributed freely as long as they are not sold by themselves. The 21 +fonts, including any derivative works, can be bundled, embedded, 22 +redistributed and/or sold with any software provided that any reserved 23 +names are not used by derivative works. The fonts and derivatives, 24 +however, cannot be released under any other type of license. The 25 +requirement for fonts to remain under this license does not apply 26 +to any document created using the fonts or their derivatives. 27 + 28 +DEFINITIONS 29 +"Font Software" refers to the set of files released by the Copyright 30 +Holder(s) under this license and clearly marked as such. This may 31 +include source files, build scripts and documentation. 32 + 33 +"Reserved Font Name" refers to any names specified as such after the 34 +copyright statement(s). 35 + 36 +"Original Version" refers to the collection of Font Software components as 37 +distributed by the Copyright Holder(s). 38 + 39 +"Modified Version" refers to any derivative made by adding to, deleting, 40 +or substituting -- in part or in whole -- any of the components of the 41 +Original Version, by changing formats or by porting the Font Software to a 42 +new environment. 43 + 44 +"Author" refers to any designer, engineer, programmer, technical 45 +writer or other person who contributed to the Font Software. 46 + 47 +PERMISSION & CONDITIONS 48 +Permission is hereby granted, free of charge, to any person obtaining 49 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 50 +redistribute, and sell modified and unmodified copies of the Font 51 +Software, subject to the following conditions: 52 + 53 +1) Neither the Font Software nor any of its individual components, 54 +in Original or Modified Versions, may be sold by itself. 55 + 56 +2) Original or Modified Versions of the Font Software may be bundled, 57 +redistributed and/or sold with any software, provided that each copy 58 +contains the above copyright notice and this license. These can be 59 +included either as stand-alone text files, human-readable headers or 60 +in the appropriate machine-readable metadata fields within text or 61 +binary files as long as those fields can be easily viewed by the user. 62 + 63 +3) No Modified Version of the Font Software may use the Reserved Font 64 +Name(s) unless explicit written permission is granted by the corresponding 65 +Copyright Holder. This restriction only applies to the primary font name as 66 +presented to the users. 67 + 68 +4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font 69 +Software shall not be used to promote, endorse or advertise any 70 +Modified Version, except to acknowledge the contribution(s) of the 71 +Copyright Holder(s) and the Author(s) or with their explicit written 72 +permission. 73 + 74 +5) The Font Software, modified or unmodified, in part or in whole, 75 +must be distributed entirely under this license, and must not be 76 +distributed under any other license. The requirement for fonts to 77 +remain under this license does not apply to any document created 78 +using the Font Software. 79 + 80 +TERMINATION 81 +This license becomes null and void if any of the above conditions are 82 +not met. 83 + 84 +DISCLAIMER 85 +THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 86 +EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 87 +MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 88 +OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 89 +COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 90 +INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 91 +DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 92 +FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 93 +OTHER DEALINGS IN THE FONT SOFTWARE.
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1 +Copyright (c) 2021, Keussel <contact@keussel.studio>
1 +Copyright (c) 2021, Keussel (www.keussel.studio|contact@keussel.studio), 2 +with Reserved Font Name Basteleur. 3 + 4 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 5 +This license is copied below, and is also available with a FAQ at: 6 +http://scripts.sil.org/OFL 7 + 8 +SIL Open Font License v1.1 9 +==================================================== 10 + 11 + 12 +Preamble 13 +---------- 14 + 15 +The goals of the Open Font License (OFL) are to stimulate worldwide 16 +development of collaborative font projects, to support the font creation 17 +efforts of academic and linguistic communities, and to provide a free and 18 +open framework in which fonts may be shared and improved in partnership 19 +with others. 20 + 21 +The OFL allows the licensed fonts to be used, studied, modified and 22 +redistributed freely as long as they are not sold by themselves. The 23 +fonts, including any derivative works, can be bundled, embedded, 24 +redistributed and/or sold with any software provided that any reserved 25 +names are not used by derivative works. The fonts and derivatives, 26 +however, cannot be released under any other type of license. The 27 +requirement for fonts to remain under this license does not apply 28 +to any document created using the fonts or their derivatives. 29 + 30 + 31 +Definitions 32 +------------- 33 + 34 +`"Font Software"` refers to the set of files released by the Copyright 35 +Holder(s) under this license and clearly marked as such. This may 36 +include source files, build scripts and documentation. 37 + 38 +`"Reserved Font Name"` refers to any names specified as such after the 39 +copyright statement(s). 40 + 41 +`"Original Version"` refers to the collection of Font Software components as 42 +distributed by the Copyright Holder(s). 43 + 44 +`"Modified Version"` refers to any derivative made by adding to, deleting, 45 +or substituting -- in part or in whole -- any of the components of the 46 +Original Version, by changing formats or by porting the Font Software to a 47 +new environment. 48 + 49 +`"Author"` refers to any designer, engineer, programmer, technical 50 +writer or other person who contributed to the Font Software. 51 + 52 + 53 +Permission & Conditions 54 +------------------------ 55 + 56 +Permission is hereby granted, free of charge, to any person obtaining 57 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 58 +redistribute, and sell modified and unmodified copies of the Font 59 +Software, subject to the following conditions: 60 + 61 +1. Neither the Font Software nor any of its individual components, 62 + in Original or Modified Versions, may be sold by itself. 63 + 64 +2. Original or Modified Versions of the Font Software may be bundled, 65 + redistributed and/or sold with any software, provided that each copy 66 + contains the above copyright notice and this license. These can be 67 + included either as stand-alone text files, human-readable headers or 68 + in the appropriate machine-readable metadata fields within text or 69 + binary files as long as those fields can be easily viewed by the user. 70 + 71 +3. No Modified Version of the Font Software may use the Reserved Font 72 + Name(s) unless explicit written permission is granted by the corresponding 73 + Copyright Holder. This restriction only applies to the primary font name as 74 + presented to the users. 75 + 76 +4. The name(s) of the Copyright Holder(s) or the Author(s) of the Font 77 + Software shall not be used to promote, endorse or advertise any 78 + Modified Version, except to acknowledge the contribution(s) of the 79 + Copyright Holder(s) and the Author(s) or with their explicit written 80 + permission. 81 + 82 +5. The Font Software, modified or unmodified, in part or in whole, 83 + must be distributed entirely under this license, and must not be 84 + distributed under any other license. The requirement for fonts to 85 + remain under this license does not apply to any document created 86 + using the Font Software. 87 + 88 + 89 +Termination 90 +----------- 91 + 92 +This license becomes null and void if any of the above conditions are 93 +not met. 94 + 95 + 96 + DISCLAIMER 97 + 98 + THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 99 + EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 100 + MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 101 + OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 102 + COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 103 + INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 104 + DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 105 + FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 106 + OTHER DEALINGS IN THE FONT SOFTWARE.
1 +# Basteleur 2 + 3 +This typeface was designed with the Tarot de Marseille in mind. 4 +This led to a funny blend of medieval-ish and cooperblack-ish typeface. 5 + 6 +The Basteleur Arcana represents a lot of things a designer can experience: new beginnings, having fun, crafting, but also a lack of confidence and having hard time to finish projects. 7 + 8 +Basteleur is a typeface by [Keussel](http://www.keussel.studio) with some contributions by [George Triantafyllakos](https://backpacker.gr/about/). 9 + 10 +Contribute or download it on [Velvetyne Type Foundry](http://velvetyne.fr/fonts/basteleur/). 11 + 12 +## Specimen 13 + 14 + 15 + 16 + 17 + 18 + 19 + 20 + 21 + 22 + 23 + 24 + 25 +## License 26 + 27 +Basteleur is licensed under the SIL Open Font License, Version 1.1. 28 +This license is copied below, and is also available with a FAQ at 29 +http://scripts.sil.org/OFL 30 + 31 +## Repository Layout 32 + 33 +This font repository follows the Unified Font Repository v2.0, 34 +a standard way to organize font project source files. Learn more at 35 +https://github.com/unified-font-repository/Unified-Font-Repository
1 +Basteleur is a trademark of Keussel.
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1 +By downloading and/or installing a Tension Type Free Font you agree to this licence: 2 + 3 +This Tension Type Free Font is free to use in any and all of your personal and commercial work. 4 + 5 +A donation is much appreciated, but not necessary (donations may be done through PayPal to: mtension@gmail.com). No donation is too small. 6 + 7 +You may install and use an unlimited number of copies of a Tension Type Free Font. 8 + 9 +Reproduction and Distribution. You may reproduce and distribute an unlimited number of copies of a Tension Type Free Font; provided that each copy shall be a true and complete copy, including all copyright and trademark notices (if applicable), and shall be accompanied by a copy of this text file. Copies of the Font may not be distributed for profit either on a standalone basis or included as part of your own product unless by prior permission of Tension Type. 10 + 11 +You may not rename, edit or create any derivative works from a Tension Type Free Font, other than subsetting when embedding them in documents unless you have permission from Tension Type. 12 + 13 +Embedding a Tension Type Free Font in a PDF document and web pages is allowed. 14 + 15 +Michael Tension and Tension Type are not responsible for any damage resulting from the use of this Tension Type Free Font. 16 + 17 +Any questions, or if you wish to share your designs, please contact Michael Tension: mtension@gmail.com 18 + 19 +Thanks a ton, 20 +Michael Tension
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1 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 2 +This license is copied below, and is also available with a FAQ at: 3 +http://scripts.sil.org/OFL 4 + 5 +SIL Open Font License v1.1 6 +==================================================== 7 + 8 + 9 +Preamble 10 +---------- 11 + 12 +The goals of the Open Font License (OFL) are to stimulate worldwide 13 +development of collaborative font projects, to support the font creation 14 +efforts of academic and linguistic communities, and to provide a free and 15 +open framework in which fonts may be shared and improved in partnership 16 +with others. 17 + 18 +The OFL allows the licensed fonts to be used, studied, modified and 19 +redistributed freely as long as they are not sold by themselves. The 20 +fonts, including any derivative works, can be bundled, embedded, 21 +redistributed and/or sold with any software provided that any reserved 22 +names are not used by derivative works. The fonts and derivatives, 23 +however, cannot be released under any other type of license. The 24 +requirement for fonts to remain under this license does not apply 25 +to any document created using the fonts or their derivatives. 26 + 27 + 28 +Definitions 29 +------------- 30 + 31 +`"Font Software"` refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +`"Reserved Font Name"` refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +`"Original Version"` refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +`"Modified Version"` refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +`"Author"` refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 + 50 +Permission & Conditions 51 +------------------------ 52 + 53 +Permission is hereby granted, free of charge, to any person obtaining 54 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 55 +redistribute, and sell modified and unmodified copies of the Font 56 +Software, subject to the following conditions: 57 + 58 +1. Neither the Font Software nor any of its individual components, 59 + in Original or Modified Versions, may be sold by itself. 60 + 61 +2. Original or Modified Versions of the Font Software may be bundled, 62 + redistributed and/or sold with any software, provided that each copy 63 + contains the above copyright notice and this license. These can be 64 + included either as stand-alone text files, human-readable headers or 65 + in the appropriate machine-readable metadata fields within text or 66 + binary files as long as those fields can be easily viewed by the user. 67 + 68 +3. No Modified Version of the Font Software may use the Reserved Font 69 + Name(s) unless explicit written permission is granted by the corresponding 70 + Copyright Holder. This restriction only applies to the primary font name as 71 + presented to the users. 72 + 73 +4. The name(s) of the Copyright Holder(s) or the Author(s) of the Font 74 + Software shall not be used to promote, endorse or advertise any 75 + Modified Version, except to acknowledge the contribution(s) of the 76 + Copyright Holder(s) and the Author(s) or with their explicit written 77 + permission. 78 + 79 +5. The Font Software, modified or unmodified, in part or in whole, 80 + must be distributed entirely under this license, and must not be 81 + distributed under any other license. The requirement for fonts to 82 + remain under this license does not apply to any document created 83 + using the Font Software. 84 + 85 + 86 +Termination 87 +----------- 88 + 89 +This license becomes null and void if any of the above conditions are 90 +not met. 91 + 92 + 93 + DISCLAIMER 94 + 95 + THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 96 + EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 97 + MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 98 + OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 99 + COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 100 + INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 101 + DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 102 + FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 103 + OTHER DEALINGS IN THE FONT SOFTWARE.
1 +## Karrik Fonts 2 + 3 +Karrik is an Open Source typeface and an original take on the Grotesque genre. Using a purposely designed irregular drawing and avoiding optical corrections, Karrik aims to recall early naïve and clumsy sans-serifs. The keywords are: #raw #charming #analog. 4 + 5 + 6 +## License 7 + 8 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 9 +This license is copied below, and is also available with a FAQ at 10 +http://scripts.sil.org/OFL 11 + 12 + 13 +## Repository Layout 14 + 15 +This font repository structure is inspired by [Unified Font Repository v0.3](https://github.com/unified-font-repository/Unified-Font-Repository). 16 + 17 + 18 +## Authors 19 + 20 +Karrik has been designed and engineered by Jean-Baptiste Morizot from [Phantom-Foundry](www.phantom-foundry.com) and Lucas Le Bihan from [Bretagne Type Foundry](https://bretagnebretagne.fr/). 21 + 22 + 23 +## Design information 24 + 25 +The initial purpose was a custom font for the 2020 issue of [Le Cercle magazine](https://www.cerclemagazine.com/). This issue was about *Ghosts*, and Karrik answered the brief with this raw sans serif reminding abandonned places filled with clumsy typography.
1 +Copyright (c) 2005-2013, Jane Doe <jane@jane@university.edu> 2 +Copyright (c) 2007, Pat Johnson <pat@fontstudio.org> 3 +Copyright (c) 2006, Fred Foobar <fred@foobar.org> 4 +Copyright (c) 2005, Tom Parker <tom@company.com> 5 +Copyright (c) 2005, Joe Smith <joe@fontstudio.org>
1 +FONTLOG for Demo 2 +------------------- 3 + 4 +This file provides detailed information on the Demo font software. 5 +This information should be distributed along with the Demo fonts 6 +and any derivative works. 7 + 8 + 9 +Basic Font Information 10 +-------------------------- 11 + 12 +(Here is where you would describe the purpose and brief specifications for the 13 +font project, and where users can find more detailed documentation. It can also 14 +include references to how changes can be contributed back to the Original 15 +Version. You may also wish to include a short guide to the design, or a 16 +reference to such a document.) 17 + 18 +Security and Integrity 19 +------------------------- 20 + 21 +The following signatures are valid for the source files and the final pdf: 22 + 23 +SHA256: TODO 24 + 25 +As you can see in the corresponding SHA256sum.txt file. 26 + 27 +You can check that the originator of the signature is actually who he said he 28 +is by using the following GPG public key: 29 + 30 +TODO 31 + 32 + 33 +Information for Contributors 34 +------------------------------ 35 + 36 +Demo is released under the OFL 1.1 - http://scripts.sil.org/OFL 37 + 38 +For information on what you're allowed to change or modify, consult the 39 +OFL-1.1.txt and OFL-FAQ.txt files. The OFL-FAQ also gives a very general 40 +rationale and various recommendations regarding why you would want to 41 +contribute to the project or make your own version of the font. 42 + 43 +See the project website for the current trunk and the various branches: 44 + 45 +http://openfontlibrary.org/projects/foo-font 46 + 47 + 48 +ChangeLog 49 +---------- 50 + 51 +When you make modifications, be sure to add a description of your changes, 52 +following the format of the other entries, to the start of this section. 53 + 54 +7 February 2007 (Pat Johnson) Demo, v1.001 55 +- Added Greek and Cyrillic glyphs 56 +- Changed name to "Demo" 57 + 58 +7 March 2006 (Fred Foobar) Bar v1.1 59 +- Tweaked contextual behaviours 60 + 61 +1 Feb 2005 (Jane Doe) Bar v1.0 62 +- Improved build script performance and verbosity 63 +- Extended the smart code documentation 64 +- Corrected minor typos in the documentation 65 +- Fixed position of combining inverted breve below (U+032F) 66 +- Added OpenType/Graphite smart code for Armenian 67 +- Added Armenian glyphs (U+0531 -> U+0587) 68 +- Changed name to "Bar" 69 + 70 +1 Jan 2005 (Joe Smith) Demo v1.0 71 +- Initial release of font "Demo" 72 + 73 + 74 +Acknowledgements 75 +------------------------- 76 + 77 +When you make modifications, be sure to add your name (N), email (E), 78 +web-address (W) and description (D). This list is sorted by last name in 79 +alphabetical order. 80 + 81 +N: Jane Doe 82 +E: jane@university.edu 83 +W: http://art.university.edu/projects/fonts 84 +D: Contributor - Armenian glyphs and code 85 + 86 +N: Fred Foobar 87 +E: fred@foobar.org 88 +W: http://foobar.org 89 +D: Contributor - misc Graphite fixes 90 + 91 +N: Pat Johnson 92 +E: pat@fontstudio.org 93 +W: http://pat.fontstudio.org 94 +D: Designer - Greek & Cyrillic glyphs based on Roman design 95 + 96 +N: Tom Parker 97 +E: tom@company.com 98 +W: http://www.company.com/tom/projects/fonts 99 +D: Engineer - original smart font code 100 + 101 +N: Joe Smith 102 +E: joe@fontstudio.org 103 +W: http://joe.fontstudio.org 104 +D: Designer - original Roman glyphs 105 + 106 +University Arts Dept is a research-based department specializing in 107 +typography, and offers courses in typeface design and book design. 108 + 109 +FontStudio is a foundry based in New York City, USA.
1 +This Font Software is licensed under the SIL Open Font License, Version 1.1. 2 +This license is copied below, and is also available with a FAQ at: 3 +http://scripts.sil.org/OFL 4 + 5 +SIL Open Font License v1.1 6 +==================================================== 7 + 8 + 9 +Preamble 10 +---------- 11 + 12 +The goals of the Open Font License (OFL) are to stimulate worldwide 13 +development of collaborative font projects, to support the font creation 14 +efforts of academic and linguistic communities, and to provide a free and 15 +open framework in which fonts may be shared and improved in partnership 16 +with others. 17 + 18 +The OFL allows the licensed fonts to be used, studied, modified and 19 +redistributed freely as long as they are not sold by themselves. The 20 +fonts, including any derivative works, can be bundled, embedded, 21 +redistributed and/or sold with any software provided that any reserved 22 +names are not used by derivative works. The fonts and derivatives, 23 +however, cannot be released under any other type of license. The 24 +requirement for fonts to remain under this license does not apply 25 +to any document created using the fonts or their derivatives. 26 + 27 + 28 +Definitions 29 +------------- 30 + 31 +`"Font Software"` refers to the set of files released by the Copyright 32 +Holder(s) under this license and clearly marked as such. This may 33 +include source files, build scripts and documentation. 34 + 35 +`"Reserved Font Name"` refers to any names specified as such after the 36 +copyright statement(s). 37 + 38 +`"Original Version"` refers to the collection of Font Software components as 39 +distributed by the Copyright Holder(s). 40 + 41 +`"Modified Version"` refers to any derivative made by adding to, deleting, 42 +or substituting -- in part or in whole -- any of the components of the 43 +Original Version, by changing formats or by porting the Font Software to a 44 +new environment. 45 + 46 +`"Author"` refers to any designer, engineer, programmer, technical 47 +writer or other person who contributed to the Font Software. 48 + 49 + 50 +Permission & Conditions 51 +------------------------ 52 + 53 +Permission is hereby granted, free of charge, to any person obtaining 54 +a copy of the Font Software, to use, study, copy, merge, embed, modify, 55 +redistribute, and sell modified and unmodified copies of the Font 56 +Software, subject to the following conditions: 57 + 58 +1. Neither the Font Software nor any of its individual components, 59 + in Original or Modified Versions, may be sold by itself. 60 + 61 +2. Original or Modified Versions of the Font Software may be bundled, 62 + redistributed and/or sold with any software, provided that each copy 63 + contains the above copyright notice and this license. These can be 64 + included either as stand-alone text files, human-readable headers or 65 + in the appropriate machine-readable metadata fields within text or 66 + binary files as long as those fields can be easily viewed by the user. 67 + 68 +3. No Modified Version of the Font Software may use the Reserved Font 69 + Name(s) unless explicit written permission is granted by the corresponding 70 + Copyright Holder. This restriction only applies to the primary font name as 71 + presented to the users. 72 + 73 +4. The name(s) of the Copyright Holder(s) or the Author(s) of the Font 74 + Software shall not be used to promote, endorse or advertise any 75 + Modified Version, except to acknowledge the contribution(s) of the 76 + Copyright Holder(s) and the Author(s) or with their explicit written 77 + permission. 78 + 79 +5. The Font Software, modified or unmodified, in part or in whole, 80 + must be distributed entirely under this license, and must not be 81 + distributed under any other license. The requirement for fonts to 82 + remain under this license does not apply to any document created 83 + using the Font Software. 84 + 85 + 86 +Termination 87 +----------- 88 + 89 +This license becomes null and void if any of the above conditions are 90 +not met. 91 + 92 + 93 + DISCLAIMER 94 + 95 + THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, 96 + EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF 97 + MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT 98 + OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE 99 + COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, 100 + INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL 101 + DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING 102 + FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM 103 + OTHER DEALINGS IN THE FONT SOFTWARE.
1 +# Résistance Générale 2 + 3 +Font created using [Glyphr Studio](http://glyphrstudio.com/) by the students of ENSAD Paris at [La Générale](http://www.lagenerale.fr/), with the help of the F/LOS foundry [Velvetyne](http://velvetyne.fr/). 4 + 5 +## Source file 6 + 7 +Source files are the .txt file. Open the file in [Glyphr Studio](http://glyphrstudio.com/) to edit or export the font. 8 + 9 +## Specimen 10 + 11 + 12 + 13 + 14 +## License 15 + 16 +Creators : Pauline Cormault, Esther Michaud, Claire Mucchieli, Merlin Andreae, Raphaël Maman, Pedro Gomes-Cardoso, Juliette Nier, Gabrielle Meistretty, Damien Bauza. 17 +This font is under OFL ([Open Font License](http://scripts.sil.org/cms/scripts/page.php?site_id=nrsi&id=OFL)). 18 + 19 +## Repository Layout 20 + 21 +This font repository follows the Unified Font Repository v2.0, 22 +a standard way to organize font project source files. Learn more at 23 +https://github.com/raphaelbastide/Unified-Font-Repository
Binary files differ.
1 +feature salt{ 2 + lookup i_alternatif{ 3 + sub [i igrave iacute icircumflex idieresis] by [i.alt igrave.alt iacute.alt icircumflex.alt idieresis.alt]; 4 + } i_alternatif; 5 + }salt; 6 + 7 +feature ss01{ 8 + lookup i_alternatif; 9 + }ss01;
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25 + <key>openTypeHeadLowestRecPPEM</key> 26 + <integer>6</integer> 27 + <key>openTypeHheaAscender</key> 28 + <integer>1716</integer> 29 + <key>openTypeHheaCaretOffset</key> 30 + <integer>0</integer> 31 + <key>openTypeHheaCaretSlopeRise</key> 32 + <integer>1</integer> 33 + <key>openTypeHheaCaretSlopeRun</key> 34 + <integer>0</integer> 35 + <key>openTypeHheaDescender</key> 36 + <integer>-418</integer> 37 + <key>openTypeHheaLineGap</key> 38 + <integer>212</integer> 39 + <key>openTypeNameDesigner</key> 40 + <string>Velvetyne Type Foundry</string> 41 + <key>openTypeNameDesignerURL</key> 42 + <string>http://velvetyne.fr</string> 43 + <key>openTypeNameLicense</key> 44 + <string>SIL OFL</string> 45 + <key>openTypeNameManufacturer</key> 46 + <string>Velvetyne Type Foundry</string> 47 + <key>openTypeNameManufacturerURL</key> 48 + <string>http://velvetyne.fr</string> 49 + <key>openTypeOS2CodePageRanges</key> 50 + <array> 51 + <integer>0</integer> 52 + <integer>32</integer> 53 + </array> 54 + <key>openTypeOS2Panose</key> 55 + <array> 56 + <integer>2</integer> 57 + <integer>11</integer> 58 + <integer>5</integer> 59 + <integer>0</integer> 60 + <integer>3</integer> 61 + <integer>0</integer> 62 + <integer>0</integer> 63 + <integer>0</integer> 64 + <integer>0</integer> 65 + <integer>0</integer> 66 + </array> 67 + <key>openTypeOS2Selection</key> 68 + <array> 69 + </array> 70 + <key>openTypeOS2StrikeoutPosition</key> 71 + <integer>530</integer> 72 + <key>openTypeOS2StrikeoutSize</key> 73 + <integer>102</integer> 74 + <key>openTypeOS2SubscriptXOffset</key> 75 + <integer>0</integer> 76 + <key>openTypeOS2SubscriptXSize</key> 77 + <integer>1434</integer> 78 + <key>openTypeOS2SubscriptYOffset</key> 79 + <integer>283</integer> 80 + <key>openTypeOS2SubscriptYSize</key> 81 + <integer>1331</integer> 82 + <key>openTypeOS2SuperscriptXOffset</key> 83 + <integer>0</integer> 84 + <key>openTypeOS2SuperscriptXSize</key> 85 + <integer>1434</integer> 86 + <key>openTypeOS2SuperscriptYOffset</key> 87 + <integer>977</integer> 88 + <key>openTypeOS2SuperscriptYSize</key> 89 + <integer>1331</integer> 90 + <key>openTypeOS2Type</key> 91 + <array> 92 + <integer>3</integer> 93 + </array> 94 + <key>openTypeOS2TypoAscender</key> 95 + <integer>1434</integer> 96 + <key>openTypeOS2TypoDescender</key> 97 + <integer>-410</integer> 98 + <key>openTypeOS2TypoLineGap</key> 99 + <integer>205</integer> 100 + <key>openTypeOS2UnicodeRanges</key> 101 + <array> 102 + <integer>0</integer> 103 + <integer>1</integer> 104 + <integer>2</integer> 105 + <integer>5</integer> 106 + <integer>7</integer> 107 + <integer>34</integer> 108 + <integer>33</integer> 109 + <integer>35</integer> 110 + <integer>38</integer> 111 + <integer>63</integer> 112 + <integer>65</integer> 113 + </array> 114 + <key>openTypeOS2VendorID</key> 115 + <string>HL </string> 116 + <key>openTypeOS2WeightClass</key> 117 + <integer>400</integer> 118 + <key>openTypeOS2WidthClass</key> 119 + <integer>5</integer> 120 + <key>openTypeOS2WinAscent</key> 121 + <integer>1800</integer> 122 + <key>openTypeOS2WinDescent</key> 123 + <integer>512</integer> 124 + <key>postscriptBlueValues</key> 125 + <array> 126 + </array> 127 + <key>postscriptFamilyBlues</key> 128 + <array> 129 + </array> 130 + <key>postscriptFamilyOtherBlues</key> 131 + <array> 132 + </array> 133 + <key>postscriptIsFixedPitch</key> 134 + <false/> 135 + <key>postscriptOtherBlues</key> 136 + <array> 137 + </array> 138 + <key>postscriptStemSnapH</key> 139 + <array> 140 + </array> 141 + <key>postscriptStemSnapV</key> 142 + <array> 143 + </array> 144 + <key>postscriptUnderlinePosition</key> 145 + <integer>-217</integer> 146 + <key>postscriptUnderlineThickness</key> 147 + <integer>150</integer> 148 + <key>styleMapFamilyName</key> 149 + <string>Resistance</string> 150 + <key>styleMapStyleName</key> 151 + <string>regular</string> 152 + <key>styleName</key> 153 + <string>Regular</string> 154 + <key>unitsPerEm</key> 155 + <integer>2048</integer> 156 + <key>versionMajor</key> 157 + <integer>1</integer> 158 + <key>versionMinor</key> 159 + <integer>0</integer> 160 + <key>xHeight</key> 161 + <integer>1024</integer> 162 +</dict> 163 +</plist>
resources/fonts/resistance-generale-master/sources/1-drawing/Resistance générale.ufo/glyphs/AE_.glif
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+ <string>iacute.alt</string> 282 + <string>icircumflex.alt</string> 283 + <string>idieresis.alt</string> 284 + <string>dotlessi.alt</string> 285 + <string>.notdef</string> 286 + </array> 287 + <key>type</key> 288 + <string>glyphList</string> 289 + </dict> 290 + </array> 291 + <key>public.glyphOrder</key> 292 + <array> 293 + <string>space</string> 294 + <string>A</string> 295 + <string>Agrave</string> 296 + <string>Aacute</string> 297 + <string>Acircumflex</string> 298 + <string>Atilde</string> 299 + <string>Adieresis</string> 300 + <string>Aring</string> 301 + <string>B</string> 302 + <string>C</string> 303 + <string>Ccedilla</string> 304 + <string>D</string> 305 + <string>E</string> 306 + <string>Egrave</string> 307 + <string>Eacute</string> 308 + <string>Ecircumflex</string> 309 + <string>Edieresis</string> 310 + <string>F</string> 311 + <string>G</string> 312 + <string>H</string> 313 + <string>I</string> 314 + <string>Igrave</string> 315 + <string>Iacute</string> 316 + <string>Icircumflex</string> 317 + <string>Idieresis</string> 318 + <string>J</string> 319 + <string>K</string> 320 + <string>L</string> 321 + <string>M</string> 322 + <string>N</string> 323 + <string>Ntilde</string> 324 + <string>O</string> 325 + <string>Ograve</string> 326 + <string>Oacute</string> 327 + <string>Ocircumflex</string> 328 + <string>Otilde</string> 329 + <string>Odieresis</string> 330 + <string>P</string> 331 + <string>Q</string> 332 + <string>R</string> 333 + <string>S</string> 334 + <string>T</string> 335 + <string>U</string> 336 + <string>Ugrave</string> 337 + <string>Uacute</string> 338 + <string>Ucircumflex</string> 339 + <string>Udieresis</string> 340 + <string>V</string> 341 + <string>W</string> 342 + <string>X</string> 343 + <string>Y</string> 344 + <string>Yacute</string> 345 + <string>Z</string> 346 + <string>AE</string> 347 + <string>Eth</string> 348 + <string>Oslash</string> 349 + <string>Thorn</string> 350 + <string>OE</string> 351 + <string>a</string> 352 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<string>odieresis</string> 387 + <string>p</string> 388 + <string>q</string> 389 + <string>r</string> 390 + <string>s</string> 391 + <string>t</string> 392 + <string>u</string> 393 + <string>ugrave</string> 394 + <string>uacute</string> 395 + <string>ucircumflex</string> 396 + <string>udieresis</string> 397 + <string>v</string> 398 + <string>w</string> 399 + <string>x</string> 400 + <string>y</string> 401 + <string>yacute</string> 402 + <string>ydieresis</string> 403 + <string>z</string> 404 + <string>ordfeminine</string> 405 + <string>ordmasculine</string> 406 + <string>germandbls</string> 407 + <string>ae</string> 408 + <string>eth</string> 409 + <string>oslash</string> 410 + <string>thorn</string> 411 + <string>dotlessi</string> 412 + <string>oe</string> 413 + <string>uni02C9</string> 414 + <string>zero</string> 415 + <string>one</string> 416 + <string>two</string> 417 + <string>three</string> 418 + <string>four</string> 419 + <string>five</string> 420 + <string>six</string> 421 + <string>seven</string> 422 + <string>eight</string> 423 + <string>nine</string> 424 + <string>uni00B9</string> 425 + <string>uni00B2</string> 426 + <string>uni00B3</string> 427 + <string>onequarter</string> 428 + <string>onehalf</string> 429 + <string>threequarters</string> 430 + <string>underscore</string> 431 + <string>endash</string> 432 + <string>emdash</string> 433 + <string>parenleft</string> 434 + <string>parenright</string> 435 + <string>bracketleft</string> 436 + <string>bracketright</string> 437 + <string>braceleft</string> 438 + <string>braceright</string> 439 + <string>numbersign</string> 440 + <string>percent</string> 441 + <string>quotesingle</string> 442 + <string>quotedbl</string> 443 + <string>quoteleft</string> 444 + <string>quoteright</string> 445 + <string>quotedblleft</string> 446 + <string>quotedblright</string> 447 + <string>quotesinglbase</string> 448 + <string>quotedblbase</string> 449 + <string>guilsinglleft</string> 450 + <string>guilsinglright</string> 451 + <string>guillemotleft</string> 452 + <string>guillemotright</string> 453 + <string>asterisk</string> 454 + <string>dagger</string> 455 + <string>daggerdbl</string> 456 + <string>period</string> 457 + <string>comma</string> 458 + <string>colon</string> 459 + <string>ellipsis</string> 460 + <string>exclam</string> 461 + <string>exclamdown</string> 462 + <string>question</string> 463 + <string>questiondown</string> 464 + <string>slash</string> 465 + <string>backslash</string> 466 + <string>fraction</string> 467 + <string>bar</string> 468 + <string>brokenbar</string> 469 + <string>at</string> 470 + <string>ampersand</string> 471 + <string>section</string> 472 + <string>paragraph</string> 473 + <string>uni2116</string> 474 + <string>periodcentered</string> 475 + <string>bullet</string> 476 + <string>semicolon</string> 477 + <string>plus</string> 478 + <string>minus</string> 479 + <string>plusminus</string> 480 + <string>divide</string> 481 + <string>multiply</string> 482 + <string>equal</string> 483 + <string>less</string> 484 + <string>greater</string> 485 + <string>lessequal</string> 486 + <string>greaterequal</string> 487 + <string>approxequal</string> 488 + <string>logicalnot</string> 489 + <string>partialdiff</string> 490 + <string>Delta</string> 491 + <string>product</string> 492 + <string>summation</string> 493 + <string>mu</string> 494 + <string>radical</string> 495 + <string>infinity</string> 496 + <string>integral</string> 497 + <string>dollar</string> 498 + <string>cent</string> 499 + <string>sterling</string> 500 + <string>currency</string> 501 + <string>yen</string> 502 + <string>franc</string> 503 + <string>lira</string> 504 + <string>peseta</string> 505 + <string>Euro</string> 506 + <string>asciicircum</string> 507 + <string>asciitilde</string> 508 + <string>acute</string> 509 + <string>grave</string> 510 + <string>hungarumlaut</string> 511 + <string>circumflex</string> 512 + <string>caron</string> 513 + <string>breve</string> 514 + <string>tilde</string> 515 + <string>macron</string> 516 + <string>dieresis</string> 517 + <string>dotaccent</string> 518 + <string>ring</string> 519 + <string>cedilla</string> 520 + <string>ogonek</string> 521 + <string>copyright</string> 522 + <string>registered</string> 523 + <string>trademark</string> 524 + <string>degree</string> 525 + <string>hyphen</string> 526 + <string>.null</string> 527 + <string>nonmarkingreturn</string> 528 + <string>uniF001</string> 529 + <string>uniF002</string> 530 + <string>i.alt</string> 531 + <string>igrave.alt</string> 532 + <string>iacute.alt</string> 533 + <string>icircumflex.alt</string> 534 + <string>idieresis.alt</string> 535 + <string>dotlessi.alt</string> 536 + <string>.notdef</string> 537 + </array> 538 +</dict> 539 +</plist>
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-<!DOCTYPE html> -<html lang="en"> -<head> - <meta charset="UTF-8"> - <meta name="viewport" content="width=device-width, initial-scale=1.0"> - <title>zine.html</title> - <link rel="icon" href="data:image/svg+xml,<svg xmlns=%22http://www.w3.org/2000/svg%22 viewBox=%220 0 100 100%22><text y=%22.9em%22 font-size=%2290%22>🎱</text></svg>"> - <style> - :root { - --rotation: 0deg; - /* uncomment to flip */ - /* --rotation: 180deg; */ - } - - * { - margin: 0; - padding: 0; - box-sizing: border-box; - } - - html { - transform: rotate(var(--rotation)); - } - - body { - font-family: Arial, sans-serif; - background-color: green; - /* background-image:url("resources/water.jpg"); */ - display: flex; - justify-content: center; - align-items: center; - height: 100vh; - overflow: auto; - } - - #sheet { - width: 11in; - height: 8.5in; - background-color: white; - display: grid; - grid-template-columns: repeat(4, 1fr); - grid-template-rows: repeat(2, 1fr); - gap: 0; - outline: 2px solid black; - position: relative; - } - - #sheet::after { - content: ''; - position: absolute; - top: 0; - left: 0; - width: 100%; - height: 100%; - background-color: black; - z-index: -1; - transform: rotate(calc(-1 * var(--rotation))) translateX(7px) translateY(7px) rotate(var(--rotation)); - } - - #page3, #page4, #page5, #page6 { - transform: rotate(180deg); - } - - /* dashed line border */ - #back-cover, #front-cover, #page1 { - border-right: 1px dashed lightgrey; - border-top: 1px dashed lightgrey; - } - #page2 { - border-top: 1px dashed lightgrey; - } - #page4, #page5, #page6 { - border-left: 1px dashed lightgrey; - } - - .zine-page { - height: 4.25in; - width: 2.75in; - padding-top: .08in; - padding-bottom: .3in; - padding-left: .2in; - padding-right: .2in; - } - - .zine-page-content { - width: 100%; - height: 100%; - overflow: hidden; - font-size: 18px; - /* uncomment and print to determine appropriate .zine-page padding for your printer */ - /* border:1px dashed black; */ - } - - p { - font-size: 17px; - } - - img { - max-width: 100%; - float: right; - margin-left: 5px; - margin-bottom: 5px; - } - - code { - margin:20px; - } - - pre { - margin-top:8px; - font-size: 15px; - border:1px dotted grey; - } - - /* Print styles */ - @media print { - #sheet { - page-break-after: auto; - page-break-inside: avoid; - box-sizing: border-box; - transform: rotate(90deg); - outline: none; - margin-bottom: 0; - } - #sheet::after { - display: none; - } - #back-cover, #front-cover, #page1, #page2, #page3, #page4, #page5, #page6 { - border: none; - } - @page { - size: 8.5in 11in portrait; - margin: 0; - } - a { - color: black; - } - } - - ul { - list-style-type: disc; - padding-left: 20px; - } - - ul.leaders { - max-width: 40em; - padding: 0; - overflow-x: hidden; - list-style: none; - } - ul.leaders li { - padding-bottom: 10px; - } - ul.leaders li:before { - float: left; - width: 0; - white-space: nowrap; - content: "........................................"; - } - ul.leaders span:first-child { - padding-right: 0.33em; - background: white; - } - ul.leaders span + span { - float: right; - padding-left: 0.33em; - background: white; - } - - .highlighted { - color: white; - background-color: black; - } - </style> -</head> -<body> - <div id="sheet"> - <div class="zine-page" id="page6"> - <div class="zine-page-content"> - <p> - The code for this zine is available for free on GitHub, distributed as a single HTML file. - Think of it as a template you can use to create your own zine, comic, recipe book, manifesto, photo album, album review, dream journal or... <i><u><strong>whatever</strong></u></i>. - </p> - <br> - <ul style="font-size:15px;"> - <li>Source code:<br><a href="https://github.com/hunterirving/zine.html">https://github.com/hunterirving/zine.html</a> - </li> - <br> - <li>Assembly instructions:<br><a href="https://vabook.org/wp-content/uploads/sites/16/2020/03/Where-Im-From-zine-folding-instructions.pdf">https://vabook.org/wp-content/uploads/sites/16/2020/03/Where-Im-From-zine-folding-instructions.pdf</a> - </li> - </ul> - </div> - </div> - <div class="zine-page" id="page5"> - <div class="zine-page-content"> - <p>With just a few lines of code, you can transform a webpage into a perfectly formatted zine, book, or poster. - Press <span style="border: 1px solid black"><keyboard>⌘</span></keyboard>+<span style="border: 1px solid black"><keyboard>P</keyboard></span> on your keyboard, and this page will adapt for printing, rotating and scaling to fit a single sheet of letter paper.</p> - <br> - <div style="border: 1px solid black; padding: 5px;"><i>Note: this trick won't work if you're reading the print edition.</i></div> - <br> - <p>From screen to page, HTML bridges the <span style="font-family:monospace">digital</span> and <span style="font-family:cursive">physical</span> worlds.</p> - </div> - </div> - <div class="zine-page" id="page4"> - <div class="zine-page-content"> - <p> - As the website <a href="https://html.energy">https://html.energy</a> puts it, "HTML isn’t a vast language, yet you can do a lot with it."<br> - HTML is built using nested <b>tags</b>, which define elements like headings, paragraphs, and images. - You can think of these tags as <i>the moveable type of the Internet</i>: - <br><br> - <pre><html> - <body> - <h1>My Webpage</h1> - <p>Yadda yadda..</p> - <img src="me.jpg"> - </body> -</html></pre> - </p> - </div> - </div> - <div class="zine-page" id="page3"> - <div class="zine-page-content"> - <img src="resources/zine.html/ipb.jpg" style="width:49%;"> - <p>I recently picked up <span class="highlighted">Kristoffer Tjalve</span> and <span class="highlighted">Elliot Cost</span>'s - <i>Internet Phone Book</i>, a collection of personal websites, built by hand, by people from around the world.<br> - I was surprised to learn that the book itself had been written in HTML (<i>HyperText Markup Language</i>), - the language that every website on the Internet uses to structure its content. - </div> - </div> - <div class="zine-page" id="back-cover"> - <div class="zine-page-content" style="display: flex; align-items: flex-end; justify-content: center;"> - <small style="text-align: center;"><a href="https://hunterirving.com">hunterirving.com</a><br>html day 2025</small> - </div> - </div> - <div class="zine-page" id="front-cover"> - <div class="zine-page-content"> - <h1>zine.html</h1> - <div style="font-size:100px; margin-top:80px; text-align: center;" class="center">🎱</div> - </div> - </div> - <div class="zine-page" id="page1"> - <div class="zine-page-content"> - <h2>if you have a printer, you're a publisher</h2> - <ul class="leaders" style="margin-top:25px;"> - <li> - <span>movable type</span><span>①</span> - </li> - <li> - <span>seeds of an idea</span><span>②</span> - </li> - <li> - <span>intro to HTML</span><span>③</span> - </li> - <li> - <span>print preview</span><span>④</span> - </li> - <li> - <span>tag, you're it</span><span>⑤</span> - </li> - </ul> - <img src="resources/zine.html/8ball.gif" style="display: block; margin: 0 auto; float: none; margin-top:30px;"> - </div> - </div> - <div class="zine-page" id="page2"> - <div class="zine-page-content"> - <p> - In 1040 AD, Chinese inventor <span class="highlighted">Bi Sheng</span> carved individual characters into clay pieces, - creating the world's first movable type printing system. - Four centuries later, <span class="highlighted">Johannes Gutenberg</span> developed his own movable type system using metal - letters and a mechanical press, revolutionizing European society and spreading - literacy across the Western world. Though inkjet and laser printers now sit in homes around the world, <i>few use them to become publishers themselves.</i> - </p> - </div> - </div> - </div> -</body> -</html>
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1 +<!DOCTYPE html> 2 +<html lang="en"> 3 +<head> 4 + <meta charset="UTF-8"> 5 + <meta name="viewport" content="width=device-width, initial-scale=1.0"> 6 + <title>The Hacksburg Gazette</title> 7 + <link rel="icon" href="data:image/svg+xml,<svg xmlns=%22http://www.w3.org/2000/svg%22 viewBox=%220 0 100 100%22><text y=%22.9em%22 font-size=%2290%22>🟢</text></svg>"> 8 + <style> 9 + :root { 10 + --rotation: 0deg; 11 + /* uncomment to flip */ 12 + --rotation: 180deg; 13 + font-family: Arial, Helvetica, sans-serif; 14 + } 15 + 16 + @font-face { 17 + font-family: 'Resistance'; 18 + src: url('../../resources/fonts/resistance-generale-master/Resistance générale.otf') format('opentype'); 19 + } 20 + 21 + @font-face { 22 + font-family: 'MonHugo-in'; 23 + src: url('../../resources/fonts/Mon_Hugo_freefont/MonHugo-in.ttf') format('truetype'); 24 + } 25 + 26 + @font-face { 27 + font-family: 'MonHugo-out'; 28 + src: url('../../resources/fonts/Mon_Hugo_freefont/MonHugo-out.ttf') format('truetype'); 29 + } 30 + 31 + @font-face { 32 + font-family: 'Impact-Label'; 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138 + src: url('../../resources/fonts/basteleur-master/Basteleur-Moonlight.ttf') format('truetype'); 139 + font-weight: normal; 140 + font-style: normal; 141 + } 142 + 143 + @font-face { 144 + font-family: 'Electrolize'; 145 + src: url('../../resources/fonts/Electrolize/Electrolize-Regular.ttf') format('truetype'); 146 + font-weight: normal; 147 + font-style: normal; 148 + } 149 + 150 + @font-face { 151 + font-family: 'Special Gothic'; 152 + src: url('../../resources/fonts/Special_Gothic_Expanded_One/SpecialGothicExpandedOne-Regular.ttf') format('truetype'); 153 + font-weight: normal; 154 + font-style: normal; 155 + } 156 + 157 + * { 158 + margin: 0; 159 + padding: 0; 160 + box-sizing: border-box; 161 + } 162 + 163 + html { 164 + transform: rotate(var(--rotation)); 165 + } 166 + 167 + body { 168 + font-family: Arial, sans-serif; 169 + background-color: green; 170 + /* background-image:url("../../resources/backgrounds/desert.gif"); */ 171 + display: flex; 172 + justify-content: center; 173 + align-items: center; 174 + height: 100vh; 175 + overflow: auto; 176 + } 177 + 178 + #sheet { 179 + width: 11in; 180 + height: 8.5in; 181 + background-color: white; 182 + display: grid; 183 + grid-template-columns: repeat(4, 1fr); 184 + grid-template-rows: repeat(2, 1fr); 185 + gap: 0; 186 + outline: 2px solid black; 187 + position: relative; 188 + } 189 + 190 + #sheet::after { 191 + content: ''; 192 + position: absolute; 193 + top: 0; 194 + left: 0; 195 + width: 100%; 196 + height: 100%; 197 + background-color: black; 198 + z-index: -1; 199 + transform: rotate(calc(-1 * var(--rotation))) translateX(7px) translateY(7px) rotate(var(--rotation)); 200 + } 201 + 202 + #page3, #page4, #page5, #page6 { 203 + transform: rotate(180deg); 204 + } 205 + 206 + /* dashed line border */ 207 + #back-cover, #front-cover, #page1 { 208 + border-right: 1px dashed lightgrey; 209 + border-top: 1px dashed lightgrey; 210 + } 211 + #page2 { 212 + border-top: 1px dashed lightgrey; 213 + } 214 + #page4, #page5, #page6 { 215 + border-left: 1px dashed lightgrey; 216 + } 217 + 218 + .zine-page { 219 + height: 4.25in; 220 + width: 2.75in; 221 + padding-top: .08in; 222 + padding-bottom: .3in; 223 + padding-left: .2in; 224 + padding-right: .2in; 225 + } 226 + 227 + .zine-page-content { 228 + width: 100%; 229 + height: 100%; 230 + overflow: hidden; 231 + font-size: 18px; 232 + /* uncomment and print to determine appropriate .zine-page padding for your printer */ 233 + /* border:1px dashed black; */ 234 + } 235 + 236 + p { 237 + font-family: Arial; 238 + font-size: 16px; 239 + } 240 + 241 + img { 242 + max-width: 100%; 243 + float: right; 244 + margin-left: 5px; 245 + margin-bottom: 5px; 246 + } 247 + 248 + /* Print styles */ 249 + @media print { 250 + #sheet { 251 + page-break-after: auto; 252 + page-break-inside: avoid; 253 + box-sizing: border-box; 254 + transform: rotate(90deg); 255 + outline: none; 256 + margin-bottom: 0; 257 + } 258 + #sheet::after { 259 + display: none; 260 + } 261 + #back-cover, #front-cover, #page1, #page2, #page3, #page4, #page5, #page6 { 262 + border: none; 263 + } 264 + @page { 265 + size: 8.5in 11in portrait; 266 + margin: 0; 267 + } 268 + a { 269 + color: black; 270 + } 271 + img { 272 + filter: none !important; 273 + } 274 + } 275 + 276 + .highlighted { 277 + color: white; 278 + background-color: black; 279 + } 280 + 281 + .mirror-horizontal { 282 + transform: scaleX(-1); 283 + display: inline-block; 284 + } 285 + 286 + a { 287 + color: black; 288 + text-decoration-color: darkgray; 289 + } 290 + 291 + 292 + h3 { 293 + font-family:Electrolize; 294 + } 295 + .event-description { 296 + font-size:12.5px; text-align: center; padding-bottom: 6px; 297 + } 298 + .small-block-heading { 299 + font-family: Electrolize; 300 + font-size: 18px; 301 + margin-bottom: 4px; 302 + padding: 5px; 303 + background-color: black; 304 + color: white; 305 + padding-left:6px; 306 + } 307 + .dot-leader { 308 + flex: 1; border-bottom: 2px dotted rgb(98, 98, 98); margin: 0 8px; height: 1em; 309 + } 310 + .date-highlight { 311 + background-color: rgb(225, 255, 239); 312 + } 313 + </style> 314 +</head> 315 +<body> 316 + <div id="sheet"> 317 + <div class="zine-page" id="page6"> 318 + <div class="zine-page-content" style="padding-top:3px"> 319 + <h4 class="small-block-heading">Intro to Copperworking</h4> 320 + <p class="event-description"> 321 + Make a handmade copper bracelet.<br> 322 + <span class="date-highlight">September 21st</span> • 1:00 - 4:00pm<br>$5 for members<br>$10 for non-members 323 + </p> 324 + <h4 class="small-block-heading">Basics of LEDs</h4> 325 + <p class="event-description"> 326 + LEDs. How do they work?<br> 327 + <span class="date-highlight">September 28th</span> • 1:00 - 4:00pm<br>Free for members<br>$5 for non-members 328 + </p> 329 + <h4 class="small-block-heading">Intro to FreeCAD</h4> 330 + <p class="event-description"> 331 + Design models for 3D printing.<br> 332 + <span class="date-highlight">October 5th</span> • 1:00 - 4:00pm • Free for members • $5 for non-members 333 + </p> 334 + <h4 class="small-block-heading">Resin Printing Basics</h4> 335 + <p class="event-description"> 336 + High-precision 3D prints.<br> 337 + <span class="date-highlight">October 12th</span> • 1:00 - 4:00pm • Free for members • $5 for non-members 338 + </p> 339 + </div> 340 + </div> 341 + <div class="zine-page" id="page5"> 342 + <div class="zine-page-content" style="padding-top:3px"> 343 + <h4 class="small-block-heading">Hacksburg Open House</h4> 344 + <p class="event-description"> 345 + Tour our community workshop.<br> 346 + <span class="date-highlight">August 24th</span> • 1:00 - 4:00pm • Free! 347 + </p> 348 + <h4 class="small-block-heading">Laser Cutter 101</h4> 349 + <p class="event-description"> 350 + Use Hacksburg's C0<sub>2</sub> laser cutter.<br> 351 + <span class="date-highlight">August 31st</span> • 1:00 - 4:00pm • Free for members, $5 for non-members, optional $10 materials fee 352 + </p> 353 + <h4 class="small-block-heading">Vacuum Forming</h4> 354 + <p class="event-description"> 355 + Shape plastic sheets into 3D molds. 356 + <span class="date-highlight">September 7th</span> • 1:00 - 4:00pm<br>Free for members<br>$5 for non-members 357 + </p> 358 + <h4 class="small-block-heading">Tabletop Terrain</h4> 359 + <p class="event-description"> 360 + 3D printing & hot wire cutting. 361 + <span class="date-highlight">September 14th</span> • 1:00 - 4:00pm<br>Free for members<br>$5 for non-members 362 + </p> 363 + </div> 364 + </div> 365 + <div class="zine-page" id="page4"> 366 + <div class="zine-page-content"> 367 + <p style="font-size:15px; line-height:20px; margin-top:3px;">Hacksburg members get <b>24/7 access</b> to our space and tools. To learn more about membership, visit <a href="https://hacksburg.org/join">hacksburg.org/join</a>.</p> 368 + <div style="margin-top: 13px;"> 369 + <h4 class="small-block-heading">General Membership</h4> 370 + <div style="font-size: 16px; line-height: 1.3; margin-bottom: 8px;"> 371 + <div style="display: flex; padding: 2px 0;"><span>1 month</span><span class="dot-leader"></span><span>$50</span></div> 372 + <div style="display: flex; padding: 2px 0;"><span>3 months</span><span class="dot-leader"></span><span>$135</span></div> 373 + <div style="display: flex; padding: 2px 0;"><span>6 months</span><span class="dot-leader"></span><span>$255</span></div> 374 + <div style="display: flex; padding: 2px 0;"><span>12 months</span><span class="dot-leader"></span><span>$480</span></div> 375 + </div> 376 + 377 + <h4 style="font-family: Electrolize; font-size: 17px; margin-bottom: 4px; padding: 6px; background-color: black; color: white; margin-top:10px;">Student Membership</h4> 378 + <div style="font-size: 16px; line-height: 1.3;"> 379 + <div style="display: flex; padding: 2px 0;"><span>1 month</span><span class="dot-leader"></span><span>$40</span></div> 380 + <div style="display: flex; padding: 2px 0;"><span>3 months</span><span class="dot-leader"></span><span>$105</span></div> 381 + <div style="display: flex; padding: 2px 0;"><span>6 months</span><span class="dot-leader"></span><span>$195</span></div> 382 + <div style="display: flex; padding: 2px 0;"><span>12 months</span><span class="dot-leader"></span><span>$360</span></div> 383 + <!-- <p style="font-size: 9px; margin-top: 3px; text-align: right;">* Student membership requires active student ID</p> --> 384 + </div> 385 + </div> 386 + </div> 387 + </div> 388 + <div class="zine-page" id="page3"> 389 + <div class="zine-page-content"> 390 + <h3 style="background-color: black; color: white; padding:9px; position: relative; z-index: 1; margin-top:2px; font-size:23px;">Member Spotlight</h3> 391 + <img src="guitar.jpg" style="margin-top: -10px; margin-bottom:8px; filter: contrast(120%);"> 392 + <p style="font-size:12px; text-align: left;">Hacksburg member <b>David Speckhart</b> used Hacksburg's woodshop to build this electro-acoustic guitar from scratch. David used hand tools and Hacksburg's CNC mill to precision-cut the components.</p> 393 + </div> 394 + </div> 395 + <div class="zine-page" id="back-cover"> 396 + <div class="zine-page-content" style="display: flex; flex-direction: column; justify-content: flex-end; align-items: center;"> 397 + <img src="qr_code.png" style="max-width: 48%; display: block; margin: auto; margin-bottom: 39px; transform: rotate(-45deg);"> 398 + <div style="text-align: center; font-size:12px; font-family: Electrolize; line-height: 13px; padding-bottom:2px;"> 399 + <span style="font-family: Arial"><span class="mirror-horizontal">©</span> <span id="copyright-year"></span></span> 400 + <br>Hacksburg Press 401 + <!-- <br>1872 Pratt Dr, Blacksburg, VA --> 402 + <br><a style="text-decoration:none" href="https://hacksburg.org">hacksburg.org</a> 403 + </div> 404 + </div> 405 + </div> 406 + <div class="zine-page" id="front-cover"> 407 + <div class="zine-page-content" style="position: relative;"> 408 + <h1 style="font-family:Resistance; font-size:50px; line-height:47px;"><span style="font-size: 32px; line-height:1px">The</span><br>Hacksburg Gazette</h1> 409 + <img src="hacksignia.png" style="max-width: 100%; max-height: 48.5%; padding-top:15px; display: block; margin: auto; float: none;"> 410 + <!-- <img src="hacksignia_light.svg" style="max-width: 100%; max-height: 48.5%; padding-top:15px; display: block; margin: auto; float: none;"> --> 411 + <div style="position: absolute; bottom: 0; right: 0; font-size: 13px; line-height: 1.2; font-family: Electrolize; text-align: right;"> 412 + 1<sup style="vertical-align: 0.2em;">st</sup> Issue!<br> 413 + Summer '25 414 + </div> 415 + </div> 416 + </div> 417 + <div class="zine-page" id="page1"> 418 + <div class="zine-page-content"> 419 + <div style="display: flex; align-items: center; margin-bottom: 12px;"> 420 + <h3>Hacksburg is a Makerspace in Blacksburg, VA</h3> 421 + <img src="hacksignia_light_thicker_lines.svg" style="max-width:68px;"> 422 + </div> 423 + <img src="drill_press.jpg" style="object-fit: cover; height: 65%; width: 100%; margin-bottom:9px; filter: contrast(120%);"> 424 + <p style="font-size:12px; text-align: right;">Building a wooden box in Hacksburg's <b>Woodworking 101</b> class</p> 425 + </div> 426 + </div> 427 + <div class="zine-page" id="page2"> 428 + <div class="zine-page-content"> 429 + <p style="padding-top:7px;"> 430 + From rockets to robots to rocking chairs, whatever it is, you can probably make it at Hacksburg. Our Community Workshop hosts instructional classes and weekly work sessions, aiming to help the NRV community complete projects that would otherwise be out of reach. 431 + </p> 432 + <p style="padding-top:14px;"> 433 + Hacksburg's woodshop, metalshop, laser cutter, 3D printers, electronics bench, embroidery machine, vinyl cutter, and CNC mill are available for use by Hacksburg members twenty-four hours a day, seven days a week. 434 + </p> 435 + </div> 436 + </div> 437 + </div> 438 + <script> 439 + document.getElementById('copyright-year').textContent = new Date().getFullYear(); 440 + </script> 441 +</body> 442 +</html>
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1 +<!DOCTYPE html> 2 +<html lang="en"> 3 +<head> 4 + <meta charset="UTF-8"> 5 + <meta name="viewport" content="width=device-width, initial-scale=1.0"> 6 + <title>zine.html</title> 7 + <link rel="icon" href="data:image/svg+xml,<svg xmlns=%22http://www.w3.org/2000/svg%22 viewBox=%220 0 100 100%22><text y=%22.9em%22 font-size=%2290%22>🎱</text></svg>"> 8 + <style> 9 + :root { 10 + --rotation: 0deg; 11 + /* uncomment to flip */ 12 + /* --rotation: 180deg; */ 13 + } 14 + 15 + * { 16 + margin: 0; 17 + padding: 0; 18 + box-sizing: border-box; 19 + } 20 + 21 + html { 22 + transform: rotate(var(--rotation)); 23 + } 24 + 25 + body { 26 + font-family: Arial, sans-serif; 27 + background-color: green; 28 + /* background-image:url("resources/water.jpg"); */ 29 + display: flex; 30 + justify-content: center; 31 + align-items: center; 32 + height: 100vh; 33 + overflow: auto; 34 + } 35 + 36 + #sheet { 37 + width: 11in; 38 + height: 8.5in; 39 + background-color: white; 40 + display: grid; 41 + grid-template-columns: repeat(4, 1fr); 42 + grid-template-rows: repeat(2, 1fr); 43 + gap: 0; 44 + outline: 2px solid black; 45 + position: relative; 46 + } 47 + 48 + #sheet::after { 49 + content: ''; 50 + position: absolute; 51 + top: 0; 52 + left: 0; 53 + width: 100%; 54 + height: 100%; 55 + background-color: black; 56 + z-index: -1; 57 + transform: rotate(calc(-1 * var(--rotation))) translateX(7px) translateY(7px) rotate(var(--rotation)); 58 + } 59 + 60 + #page3, #page4, #page5, #page6 { 61 + transform: rotate(180deg); 62 + } 63 + 64 + /* dashed line border */ 65 + #back-cover, #front-cover, #page1 { 66 + border-right: 1px dashed lightgrey; 67 + border-top: 1px dashed lightgrey; 68 + } 69 + #page2 { 70 + border-top: 1px dashed lightgrey; 71 + } 72 + #page4, #page5, #page6 { 73 + border-left: 1px dashed lightgrey; 74 + } 75 + 76 + .zine-page { 77 + height: 4.25in; 78 + width: 2.75in; 79 + padding-top: .08in; 80 + padding-bottom: .3in; 81 + padding-left: .2in; 82 + padding-right: .2in; 83 + } 84 + 85 + .zine-page-content { 86 + width: 100%; 87 + height: 100%; 88 + overflow: hidden; 89 + font-size: 18px; 90 + /* uncomment and print to determine appropriate .zine-page padding for your printer */ 91 + /* border:1px dashed black; */ 92 + } 93 + 94 + p { 95 + font-size: 17px; 96 + } 97 + 98 + img { 99 + max-width: 100%; 100 + float: right; 101 + margin-left: 5px; 102 + margin-bottom: 5px; 103 + } 104 + 105 + code { 106 + margin:20px; 107 + } 108 + 109 + pre { 110 + margin-top:8px; 111 + font-size: 15px; 112 + border:1px dotted grey; 113 + } 114 + 115 + /* Print styles */ 116 + @media print { 117 + #sheet { 118 + page-break-after: auto; 119 + page-break-inside: avoid; 120 + box-sizing: border-box; 121 + transform: rotate(90deg); 122 + outline: none; 123 + margin-bottom: 0; 124 + } 125 + #sheet::after { 126 + display: none; 127 + } 128 + #back-cover, #front-cover, #page1, #page2, #page3, #page4, #page5, #page6 { 129 + border: none; 130 + } 131 + @page { 132 + size: 8.5in 11in portrait; 133 + margin: 0; 134 + } 135 + a { 136 + color: black; 137 + } 138 + } 139 + 140 + ul { 141 + list-style-type: disc; 142 + padding-left: 20px; 143 + } 144 + 145 + ul.leaders { 146 + max-width: 40em; 147 + padding: 0; 148 + overflow-x: hidden; 149 + list-style: none; 150 + } 151 + ul.leaders li { 152 + padding-bottom: 10px; 153 + } 154 + ul.leaders li:before { 155 + float: left; 156 + width: 0; 157 + white-space: nowrap; 158 + content: "........................................"; 159 + } 160 + ul.leaders span:first-child { 161 + padding-right: 0.33em; 162 + background: white; 163 + } 164 + ul.leaders span + span { 165 + float: right; 166 + padding-left: 0.33em; 167 + background: white; 168 + } 169 + 170 + .highlighted { 171 + color: white; 172 + background-color: black; 173 + } 174 + </style> 175 +</head> 176 +<body> 177 + <div id="sheet"> 178 + <div class="zine-page" id="page6"> 179 + <div class="zine-page-content"> 180 + <p> 181 + The code for this zine is available for free on GitHub, distributed as a single HTML file. 182 + Think of it as a template you can use to create your own zine, comic, recipe book, manifesto, photo album, album review, dream journal or... <i><u><strong>whatever</strong></u></i>. 183 + </p> 184 + <br> 185 + <ul style="font-size:15px;"> 186 + <li>Source code:<br><a href="https://github.com/hunterirving/zine.html">https://github.com/hunterirving/zine.html</a> 187 + </li> 188 + <br> 189 + <li>Assembly instructions:<br><a href="https://vabook.org/wp-content/uploads/sites/16/2020/03/Where-Im-From-zine-folding-instructions.pdf">https://vabook.org/wp-content/uploads/sites/16/2020/03/Where-Im-From-zine-folding-instructions.pdf</a> 190 + </li> 191 + </ul> 192 + </div> 193 + </div> 194 + <div class="zine-page" id="page5"> 195 + <div class="zine-page-content"> 196 + <p>With just a few lines of code, you can transform a webpage into a perfectly formatted zine, book, or poster. 197 + Press <span style="border: 1px solid black"><keyboard>⌘</span></keyboard>+<span style="border: 1px solid black"><keyboard>P</keyboard></span> on your keyboard, and this page will adapt for printing, rotating and scaling to fit a single sheet of letter paper.</p> 198 + <br> 199 + <div style="border: 1px solid black; padding: 5px;"><i>Note: this trick won't work if you're reading the print edition.</i></div> 200 + <br> 201 + <p>From screen to page, HTML bridges the <span style="font-family:monospace">digital</span> and <span style="font-family:cursive">physical</span> worlds.</p> 202 + </div> 203 + </div> 204 + <div class="zine-page" id="page4"> 205 + <div class="zine-page-content"> 206 + <p> 207 + As the website <a href="https://html.energy">https://html.energy</a> puts it, "HTML isn’t a vast language, yet you can do a lot with it."<br> 208 + HTML is built using nested <b>tags</b>, which define elements like headings, paragraphs, and images. 209 + You can think of these tags as <i>the moveable type of the Internet</i>: 210 + <br><br> 211 + <pre><html> 212 + <body> 213 + <h1>My Webpage</h1> 214 + <p>Yadda yadda..</p> 215 + <img src="me.jpg"> 216 + </body> 217 +</html></pre> 218 + </p> 219 + </div> 220 + </div> 221 + <div class="zine-page" id="page3"> 222 + <div class="zine-page-content"> 223 + <img src="resources/zine.html/ipb.jpg" style="width:49%;"> 224 + <p>I recently picked up <span class="highlighted">Kristoffer Tjalve</span> and <span class="highlighted">Elliot Cost</span>'s 225 + <i>Internet Phone Book</i>, a collection of personal websites, built by hand, by people from around the world.<br> 226 + I was surprised to learn that the book itself had been written in HTML (<i>HyperText Markup Language</i>), 227 + the language that every website on the Internet uses to structure its content. 228 + </div> 229 + </div> 230 + <div class="zine-page" id="back-cover"> 231 + <div class="zine-page-content" style="display: flex; align-items: flex-end; justify-content: center;"> 232 + <small style="text-align: center;"><a href="https://hunterirving.com">hunterirving.com</a><br>html day <span id="html-day-year"></span></small> 233 + </div> 234 + </div> 235 + <div class="zine-page" id="front-cover"> 236 + <div class="zine-page-content"> 237 + <h1>zine.html</h1> 238 + <div style="font-size:100px; margin-top:80px; text-align: center;" class="center">🎱</div> 239 + </div> 240 + </div> 241 + <div class="zine-page" id="page1"> 242 + <div class="zine-page-content"> 243 + <h2>if you have a printer, you're a publisher</h2> 244 + <ul class="leaders" style="margin-top:25px;"> 245 + <li> 246 + <span>movable type</span><span>①</span> 247 + </li> 248 + <li> 249 + <span>seeds of an idea</span><span>②</span> 250 + </li> 251 + <li> 252 + <span>intro to HTML</span><span>③</span> 253 + </li> 254 + <li> 255 + <span>print preview</span><span>④</span> 256 + </li> 257 + <li> 258 + <span>tag, you're it</span><span>⑤</span> 259 + </li> 260 + </ul> 261 + <img src="resources/zine.html/8ball.gif" style="display: block; margin: 0 auto; float: none; margin-top:30px;"> 262 + </div> 263 + </div> 264 + <div class="zine-page" id="page2"> 265 + <div class="zine-page-content"> 266 + <p> 267 + In 1040 AD, Chinese inventor <span class="highlighted">Bi Sheng</span> carved individual characters into clay pieces, 268 + creating the world's first movable type printing system. 269 + Four centuries later, <span class="highlighted">Johannes Gutenberg</span> developed his own movable type system using metal 270 + letters and a mechanical press, revolutionizing European society and spreading 271 + literacy across the Western world. Though inkjet and laser printers now sit in homes around the world, <i>few use them to become publishers themselves.</i> 272 + </p> 273 + </div> 274 + </div> 275 + </div> 276 + <script> 277 + document.getElementById('html-day-year').textContent = new Date().getFullYear(); 278 + </script> 279 +</body> 280 +</html>