Posts in Category "Standards"

Adobe-KR-9 Third Draft

This article picks up where the 2017-12-19 article left off, and provides details about the third draft of the forthcoming Adobe-KR-9 character collection that was issued today.

The third draft of the Adobe-KR-9 character collection includes 22,863 glyphs (CIDs 0 through 22862) distributed among ten Supplements. When compared to the second draft, three glyphs were removed, 254 glyphs were added, and the distribution of glyphs among some of the Supplements was changed. Because it is a draft, the details are still subject to change, though I suspect that any changes will be minimal at this point.
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UTC #154: SVSes, IDCs, KPS 9566 & Unicode 11.0

The 154th UTC (Unicode Technical Committee) meeting, which starts one week from tomorrow, will have a very interesting agenda for me, based on the latest documents at the end of the 2017 document register, and in the 2018 one.
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Standards 102—Silent Corrections

Continuing where my Standards 101 article left off, class is once again in session as Standards 102, and today’s topic is “silent corrections.”

The ultimate focus of this particular article is on the first three pages of WG2 N4008 (2011), Resolution M58.03 of WG2 N4104 (2011), and the Unicode mappings for two ideographs in GB 12052-89 (1989; 信息交换用朝鲜文字编码字符集), a standard from China that is a regional Korean character set. The two ideographs in question are at positions 72-33 and 72-67 in that standard. All of this started when I submitted L2/10-362 (2010), which proposed better source references for 94 ideographs that were appended to the special version of the GB/T 12345-90 (1990; 信息交换用汉字编码字符集―辅助集) standard that was used to compile the URO (Unified Repertoire & Ordering) in Unicode Version 1.1, but which are not actually present in that standard proper. It turns out that these ideographs originated in the GB 12052-89 standard.

But first, let’s briefly discuss the issue of “silent corrections” in standards, particularly in GB standards…
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Adobe-KR-9 Second Draft

This article picks up where the 2017-10-01 article left off, and provides details about the second draft of the forthcoming Adobe-KR-9 character collection that was issued today.

The second draft of the Adobe-KR-9 character collection includes 22,612 glyphs (CIDs 0 through 22611) distributed among ten Supplements. When compared to the first draft, 35 glyphs were removed, ten glyphs were added, three Supplements were added, and the distribution of glyphs among some of the Supplements was changed. Because it is the second draft, the details are still subject to change—and most certainly will change, though I hope that the changes are minimal.
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Unicode IVD: Six Versions & Five Collections

The sixth version of the Unicode IVD (Ideographic Variation Database) was released today, and is named based on today’s date: 2017-12-12.

This new version of the IVD incorporates three PRIs, #349, #351, and #354, which resulted in the registration of a fifth IVD collection, KRName, and its 36 IVSes, along with additional IVSes for the registered Adobe-Japan1 and Moji_Joho IVD collections. Be sure to read Unicode’s official announcement, and consider following @IVD_Registrar on Twitter.

As the image below confirms, the road to ideographic hell is indeed paved with turtles and dragons.

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Unicode Beyond-BMP Top Ten List—2017 Redux

Another three years have elapsed since I posted an update to the always-enjoyable Unicode Beyond-BMP Top Ten List, so I figured that an updated version—taking into account standardization developments that have occurred since then—was in order for the current year of 2017.

Enjoy!

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Three Down, One To Go…

Earlier this month, I decided to move the Adobe-Japan1-6 character collection specification to the Adobe Type Tools organization on GitHub, which was partly motivated by constantly-changing URLs on our Font Technical Notes page. Another motivation was to make the specification itself easier to maintain. At some point, I will be adding a more complete list of Supplement 7 (aka Adobe-Japan1-7) candidates to its wiki.

To this end, I decided to do the same for the Adobe-CNS1-7 and Adobe-GB1-5 character collection specifications while on vacation in South Dakota. For the former, I also used the opportunity to update the specification to include Supplement 7 (aka Adobe-CNS1-7), by adding its representative glyphs and other details.

So, that’s three down, and one to go.
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Adobe-Japan1-6 on GitHub

This is a very brief article whose purpose is to simply state that—due to recent events beyond my control*—the Adobe-Japan1-6 character collection specification is now an open source project that is hosted on GitHub as a new repository in the Adobe Type Tools organization.

Most of my morning was consumed by porting the original text from Adobe InDesign to GitHub-flavored Markdown, and, while I was touching the text, I decided to seize the opportunity to make several corrections and updates. The 500-glyphs-per-page representative glyph charts are now in a separate PDF file. I also used the opportunity to update the aj16-kanji.txt datafile, and also added the latest-and-greatest Adobe-Japan1-6 UVS (Unicode Variation Sequence) definition file. All good stuff, I think.

Enjoy!

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* Adobe’s IT folks apparently felt compelled to (once again) change the URLs for all of the font-related Adobe Tech Notes, including Adobe Tech Note #5078 (The Adobe-Japan1-6 Character Collection). Its URL is somewhat broadly referenced, including in the IVD_Collection.txt file of the latest version of the IVD (Ideographic Variation Database). The bottom line is that I needed a stable URL.

A Forthcoming Registry & Ordering: Adobe-KR-6

It is difficult to imagine that it has been over 20 years since a new RO—or Adobe CID-keyed glyph set—was born. Of course, I am referring to the static glyph sets, not the ones based on the special-purpose Adobe-Identity-0 ROS.

“RO” stands for Registry and Ordering, which represent compatibility names or identifiers for CID-keyed glyph sets that are referred to as character collections. Adobe CID-keyed glyph sets are usually referred to as ROSes, with the final “S” being an integer that refers to a specific Supplement. The first Supplement, of course, is 0 (zero).

One of my recent projects is to revitalize and modernize our Korean glyph set, Adobe-Korea1-2 (see Adobe Tech Note #5093), which was last modified on 1998-10-12 by defining Supplement 2 that added only pre-rotated versions of the proportional and half-width glyphs that are referenced by the effectively-deprecated 'vrt2' (Vertical Alternates and Rotation) GSUB feature. Instead of defining a new Supplement, I decided that it would be better to simply define a completely new glyph set for a variety of reasons. The tentative Registry and Ordering names are Adobe and KR (meaning “Adobe-KR”), and unlike other ROSes for which Supplements are defined incrementally, my current plan is to simultaneously define seven Supplements, 0 through 6.
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Internationalization & Unicode Conferences

I have attended every Internationalization & Unicode Conference (IUC) since IUC31 in 2007, and Adobe has been a continuous Gold Sponsor since IUC31. Unfortunately, duty calls, in the form of attending and hosting IRG #49 that takes place during the same week as IUC41, which means that I can neither attend nor present this year. Of course, Adobe continues to be a Gold Sponsor of this important event.
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“Houston, we have a problem… …with U+2F9B2”

U+2F9B2 䕫 is a CJK Compatibility Ideograph, and like all CJK Compatibility Ideographs, it canonically decomposes to a CJK Unified Ideograph, and also has a Standardized Variation Sequence (SVS) that uses its canonical equivalent as its base character. This character also has a single source reference, H-8FA8, which corresponds to HKSCS (Hong Kong Supplementary Character Set) 0x8FA8.

So, what’s the problem? Put simply, its canonical equivalent, U+456B , is neither in HKSCS nor in its Big Five subset:

If this character is ever normalized—regardless of the normalization form—it is converted to its canonical equivalent, U+456B , which is not likely to be included in fonts that are designed for use in Hong Kong SAR. Furthermore, even if its SVS, <U+456B,U+FE00>, is used, there is a similar problem in that its base character is also not likely to be present in fonts that are designed for use in Hong Kong SAR.
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The Tale of Three PRIs

There has been a flurry of IVD (Ideographic Variation Database) activity this year.

First, UTS #37 (Unicode Ideographic Variation Database) was updated at the end of January to allow characters with the “Ideographic” property to serve as valid base characters in an IVS (Ideographic Variation Sequence). This effectively means that the Tangut (西夏文) and Nüshu (女书/女書) scripts can now participate in the IVD.
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HKSCS-2016 & Adobe-CNS1-7

Unlike Unicode, which has been on an annual release cycle from Version 7.0, mainly to provide predictability to the release schedule for the benefit of developers, national standards—particularly East Asian ones—are updated much less frequently.

The latest East Asian national standard to be updated is HKSCS (Hong Kong Supplementary Character Set). HKSCS-2016, the fifth version of this particular standard, was published in May of 2017. As a result, and for the benefit of font developers whose fonts are based on Adobe’s public glyph sets, I used the morning of 🇺🇸’s Fourth of July of this year to publish Adobe-CNS1-7 via the CMap Resources open source project.
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When Simplified Chinese Isn’t Exactly Simplified

Er, um, oops.

✨🙈✨🙉✨🙊✨

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Source Han Unicode

One of my hobbies is apparently to explore various ways to stress-test Adobe products, and the target of today’s article happens to be recent adventures with Adobe InDesign and our Source Han families.

The background is that I produced Unicode-based glyph synopses as part of the Source Han Sans and Source Han Serif releases, but those PDFs show only up to 256 code points per page, and it takes several hundred pages to show their complete Unicode coverage. I also produced single-page PDFs that show all 65,535 glyphs. A Source Han Sans one is available here, and a Source Han Serif one is available here. However, they are not Unicode-based.
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Source Han Sans vs Source Han Serif

At seemingly every opportunity, whether via this blog or during public speaking engagements, I have made it abundantly clear that the Adobe-branded Source Han families share the same glyph set as the corresponding Google-branded Noto CJK families. That is simply because it is true. What requires a bit of explanation, however, is how the two typeface designs—Source Han Sans and Source Han Serif—differ. That is what this particular article is about.

As the Project Architect of these Pan-CJK typeface families, I have my fingers on all of the data that was used during their development, and for preparing each release. I can therefore impart some useful tidbits of information that cannot be found elsewhere.
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Three Multiple-Family Super OTCs

To take the previous article further—and because I tend to have an urge to stress-test environments—I added two more Super OTCs to the Source Han Super OTC open source project this morning.
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Introducing Source Han Super OTC

The release of Source Han Serif earlier this month, on 2017-04-03, gave me an opportunity to build yet another resource for stress-testing environments, particularly those that consume OpenType/CFF Collections. (This also continues to simplify file management by combining three Super OTCs into a much larger one.)
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April 11, 2017—Another Date Which Will Live In Dignity

Early last August, I celebrated the release of Microsoft’s Windows 10 Anniversary Update (Version 1607, and also known as Redstone 1 or RS1), mainly because it represented the very first version of Windows OS to support OpenType/CFF Collections (aka OTCs). Alas, my favorite Source Han Sans—and now Source Han Serif—deployment format, the Super OTC that packs all of the fonts into a single and easy-to-manage font resource, could not be installed.
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Designing & Implementing Biáng

Besides being the world’s first open source serif-style Pan-CJK typeface families, the Adobe-branded Source Han Serif and the Google-branded Noto Serif CJK also represent the first broad deployment of two highly-complex and related ideographs that are in the process of being encoded. Their glyphs are shown above in all seven weights. Although it may be hard to believe, the fourth line illustrates the simplified version.
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