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e X E TEX Companion TEX meets OpenType and Unicode Edited by Michel Goossens (CERN) Work in progress. Version January 11,2010
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1 e X TX Companion TX meets OpenType and Unicode dited by Michel Goossens (CRN) Work in progress. Version January 11,2010 Please send your comments to Michel Goossens (editor) and the various contributors (see next page).
2 e copyright of the contributions extracted from documentation of the various packages (see below for details) remains with their respective authors. e current maintainer of this document is Michel Goossens. Work history January 2008 Initial version (from LGC2 supplementary material). Spring 2008 Adapted material from Jonathan Kew s X TX manual and Will Robertson s fontspec manual. January 2009 Adapted material from François Charette s arabxetex manual and Dian Yin s zhspacing manual. July 2009 Added material contributed by Vafa Khalighi describing his bidi package. August 2009 Added material about xecjk plus introduced corrections and clarifications suggested by Leo Ferres and Karel Píška. January 2010 Added lots of corrections and a few suggestions for clarifications by Taylor Venable.
3 Contents List of Figures List of Tables Preface vii ix xi 1 PostScript fonts and beyond Font formats: a brief history Adobe and its PostScript Type TrueType fonts Two competing technologies The best of two worlds: OpenType PostScript Type 1 and TrueType: two different approaches Interoperability Unicode: the universal character encoding OpenType OpenType tables OpenType features OpenType support today Interrogating OpenType fonts X TX: TX meets OpenType and Unicode X TX: a historical introduction and some basics A brief history X TX: basic principles X TX: typesetting with glyphs, characters and fonts Accessing font with fontconfig Specifying character codes Hyphenation Font management: the basics Font mappings using TCkit
4 CONTNTS Line breaks and justification Unicode Character/glyph model Using OpenType via ICU Layout X TX s hyphenation support Running xetex Supplementary commands introduced by X TX Specifying languages and scripts Specifying optional features Support for pseudo-features Commands extracting information from OpenType fonts Maths fonts ncodings, linebreaking, etc Graphics and pdftx-related commands fontspec Usage Latin Modern defaults Maths fiddling A first overview Font selection Default font families X TX and other engines Handling all those scripts Writing systems Basic terminology History of writing systems Types of writing systems Language Resources Freely available Unicode encoded fonts Directionality Writing systems on computers Bidirectional typesetting Using The bidi Package Basic Direction Switching Typesetting Short RTL and LTR texts Multicolumn Typesetting More peculiarities for RTL typesetting Tabular material in RTL mode Languages using the Arabic alphabet ArabTX: Arabic typography with TX ArabX TX: Arabic typography with X TX Arabic presentation forms Typesetting Chinese The xecjk Package The zhspacing package xamples of the use of Unicode Unicode fonts and editors xamples of Unicode texts iv ch-front.tex,v: /01/10
5 Contents 4 Unicode mathematics Unicode for handling math across platforms and applications X TX handling mathematics fonts Index of Commands and Concepts 95 People 100 v ch-front.tex,v: /01/10
7 List of Figures 1.1 Using OpenType s advanced typographic features in Adobe InDesign Opentype Unicode support in OpenOffice Microso s Fonts xtension Complexities when dealing with various languages Scripts used in various parts of the world Asian scripts List of features for the scripts and languages supported by the Microso Arial and Adobe Minion fonts Writing systems used in the world today xamples of six Arabic calligraphic styles
9 List of Tables 2.1 Mathematics symbol types Indic consonant vowel combinations in various Indic abugidas ArabTX s input conventions for Arabic and Persian All arabxetex input conventions
11 Preface is free booklet describes X TX and its X L A TX variant. Aer an introduction to the OpenType and Unicode technologies, it describes how X TX extends the TX engine to optimally use OpenType fonts directly and allow you to handle Unicode-encoded sources. Various L A TX packages have been developed recently to take advantage of X TX s new functionalities, and those are described next. is compilation of tools has been written in close collaboration with the authors: Jonathan Kew (X TX development), Will Robertson fontspec and unicode-math), François Charette (arabxetex), and Dian Yin (zhspacing). Corrections and feedback has also been received from Adam Buchbinder, Leo Ferres, Rik Kabel, and Karel Píška. Comments are welcome and can be addressed to. Michel Goossens January 2010
13 C H A P T R 1 PostScript fonts and beyond 1.1 Font formats: a brief history PostScript Type 1 and TrueType: two different approaches Unicode: the universal character encoding OpenType In this chapter we look at the most basic type of graphical object in documents: the characters that form the words. Character shapes ( glyphs ) are not a direct part of the TX system; all TX wants to know about them is some metric information, such as their width or height. It is the task of the postprocessing stage (the backend of pdftx or a device driver, such as dvips which reads the file as output by TX) to produce the actual graphical representation of the page. For this stage information about the actual shapes of the characters is needed and this information is stored in so-called fonts (collections of characters) for which many different storage formats exist. us in principle any existing font can be used with TX provided that the metric information TX needs is available or can be generated and that a procedure exists that understands the format in which the fonts are stored and can insert it into the output file. Donald Knuth developed a companion program to TX, MetaFont, for generating fonts to be used with TX (Chapter 3 of e LaTeX Graphics Companion looked briefly at MetaFont s drawing capabilities). For quite some time only fonts designed with MetaFont were available to TX users, with the result that TX or L A TX documents had an easily identified look and feel mainly a result of the use of the Computer Modern fonts. Given that the TX community is very small compared to that of other typesetting systems very few font designers have produced fonts in MetaFont. erefore, access for TX engines to the literally thousands of fonts available commercially in other formats, in particular PostScript, TrueType, and, more recently, OpenType, has become a must. Although at the beginning it was quite difficult to integrate PostScript fonts into L A TX packages, the release of L A TX 2ε and its new font selection scheme (NFSS, see Chapter 7 of [5]) made accessing the large set of PostScript fonts more straightforward. Nowadays, documents routinely combine TX s superior typesetting quality with all the professionally designed typefaces produced, mainly in Post- Script, but also in TrueType and OpenType. e current chapter will introduce you to solutions to achieve this in a convenient way. Aer a historic overview of modern font technologies, including a brief description of their respective technical capabilities, we take a closer look at the basic issues concerned with typesetting and how TX and PostScript, working together, address this problem (how metric information is handled, the different types of TX and PostScript fonts, how they are encoded, i.e., how one can access individ-
14 1 POSTSCRIPT FONTS AND BYOND ual characters of a font,etc.) We then explain how you can use the basic PostScript fonts, as they are defined in the PSNFSS system (a collection of small packages and accompanying files for L A TX), which makes it easy to use a large number of common PostScript fonts out of the box) and how to easily download and install a few instances of freely available fonts. We extend the discussion to where to download and install the L A TX support files for commercially available fonts that you might have bought. Since many L A TX users have de facto access to a lot of TrueType fonts that come with their operating system, we devote the next section to the use of TrueType fonts with pdflatex, in particular how one can use a large Unicode TrueType font for typesetting in many different scripts and languages. We are then ready to discuss a few recent L A TX packages which take advantage of the enriched possibilities of the OpenType technology. We end the chapter with a discussion of Fontname, also know as the Berry font naming scheme, which is important to uniquely identify and handle all L A TX support files of the large number of fonts that are available on current operating system. 1.1 Font formats: a brief history e current main font formats are PostScript Type 1 (Type 1), TrueType (TT), and OpenType (OT), an integrated superset of the first two. All three are based on font outline technologies, are multi-platform, and have their technical specifications openly available. ese formats can be run on any recent computer platform and their character outlines ( glyphs ) are described mathematically as functions operating on points, lines and curves. e character representations are resolution independent and can be scaled to any size. ese technologies implement hinting by associating additional information with each character to help the rasterization engine optimize their representation on any given output device Adobe and its PostScript Type 1 When Adobe launched PostScript in 1984, it supported two different types of fonts formats: Type 1,¹ the more sophisticated one with support for hinting and data compression, and Type 3, a more general (almost all PostScript graphics operators are allowed) but less optimized variant. At first Adobe did not publish the specification of its PostScript Type 1 format (the Type 3 spec was public), which helped Adobe take a large part of the commercial typography market but upset the other font foundries. Apple, which also was founded in the early nineteen eighties, adopted PostScript as page description language for its Apple LaserWriter printer in Soon also other high-end image setting machines adopted PostScript as their native language. At about the same time the introduction of affordable desktop publishing soware, such as Pagemaker, Freehand, set off a revolution in page layout technology, and PostScript backends appeared for most graphics programs, thus adding to the potential market for professional PostScript Type 1 fonts. Because of its reliability, its wide selection of fonts available, its clever rasterizing engine and superior hinting mechanism, historically PostScript has been the preferred font format of professional designers, publishers and printshops. Concurrently Adobe had developed an interactive version of PostScript, called Display PostScript, that ran (somewhat slowly) on personal computers to allow displaying PostScript data on-screen. Although some computer manufacturers agreed to take out (and pay) soware licences, Apple and Microso were quite unwilling to pay the royalties requested by Adobe and, moreover, to hand control to Adobe over a vital part of their operating system. In the first part of the 1990s Adobe also developed the PostScript Type 1 multiple master (MM) format as an extension of PostScript Type 1. ssentially, it allows two (or more) design variations to be encoded on a given design axis (such as weight, width, optical size). Aerwards, any in-between state ¹See. 2 xetex-opentype.tex,v: /06/15
15 1.1 Font formats: a brief history (instance) may be generated by the user as required.¹ TrueType fonts e major system soware vendors (Apple, Microso, IBM) had been thinking about scalable font technology support at the level of their respective operating systems since they realized that it would guarantee much better screen display, compared to pre-generated bitmaps which only look good at their design sizes, and unacceptably jagged at all others. For instance in the late 1980s Apple had developed an in-house scalable font technology, Royal, later renamed to TrueType.² e TrueType specification was public and already in 1991 native TrueType support appeared in Apple s Mac System 7 and Microso s Windows 3.1. TrueType fonts use a different outline model from PostScript, and also the approach to hinting is different. e font instances contain both screen and printer font data in a single component. is makes the fonts easy to install. Although TrueType fonts support Unicode and can theoretically contain over characters, they rarely feature more that some 220 characters. Moreover, TrueType font formats are platform-dependent Two competing technologies Adobe reacted to the advent of TrueType by publishing in 1990 the PostScript Type 1 font format specification [1]. A few years later, it introduced the Adobe Type Manager (ATM) soware, which scales PostScript Type 1 fonts for screen display, and supports imaging on non-postscript printers. us by the end of the 1990s there were two widely-used outline font specifications, TrueType, built into the operating systems used by most desktop computers, and PostScript Type 1, the de facto standard for the graphic arts and the publishing industry. Moreover, as time went by, the practical differences had begun to blur. On the one hand, support for TrueType became standard in PostScript 3, while on the other hand, besides native TrueType support, PostScript Type 1 rasterizing technology was incorporated into Windows 2000, Windows XP, and Mac OS X The best of two worlds: OpenType e OpenType³ font format was jointly developed by Adobe and Microso to combine the best features of the TrueType and PostScript Type 1 technologies. It was first presented in 1996 and its use and support has been steadily increasing since about OpenType fonts contain both the screen and printer font data in a single component. e Open- Type format can contain either TrueType or PostScript font data. It supports expanded character sets (up to ) and special typographic features. ese may include various versions of figures (tabular, old-style, lining), small caps, ligatures, ordinals, and other extras. While OpenType allows type designers to build complex fonts, not many fonts take advantage of these possibilities. Most OpenType fonts available today are simply converted PostScript fonts, limited to 220 characters in a set. OpenType fonts are platform independent and can thus be used on all operating systems. ¹e technology never really took off and since 2000 Adobe has abandoned developing multiple master fonts since most applications cannot handle them and for a large majority of users it oen makes more economic sense to buy a fontset as multiple separate fonts. Adobe now concentrates on releasing OpenType fonts to replace their multiple master equivalents (e.g., the Minion and Myriad typefaces). ²See e.g.,, and. ³See Adobe s Web pages, and, or Microsos s Web page. 3 xetex-opentype.tex,v: /06/15
16 1 POSTSCRIPT FONTS AND BYOND 1.2 PostScript Type 1 and TrueType: two different approaches TrueType and PostScript Type 1 fonts use different mathematical representations to describe the curves defining the font outlines.¹ OpenType, being a superset, can have either kind of outlines. TrueType describes its curves by quadratic B-splines, while PostScript Type 1 uses cubic Bézier curves. is means, in practice, that the shapes of real-world fonts tend to take more points in True- Type, even though the kind of mathematics used to describe the curves is simpler. Any quadratic spline can be converted to a cubic spline with essentially no loss. A cubic spline can be converted to a quadratic with arbitrary precision, but there will be a slight loss of accuracy in most cases. us it is easy to convert TrueType outlines to PostScript Type 1 outlines (the Type 42 PostScript font format is a PostScript wrapper around a TrueType font for use in PostScript interpreters), harder to do the reverse. e approach to hinting is different in both technologies. PostScript Type 1² takes a declarative approach and lets a smart PostScript interpreter do the work. It tells the rasterizer what features ought to be controlled, and the rasterizer interprets these using its own intelligence to decide how to do it. erefore, when the PostScript interpreter is upgraded, the rasterization can be improved. On paper, the hinting potential of TrueType³ should be superior to that of PostScript Type 1 fonts, since TrueType hints can do all that PostScript Type 1 can, and more. Indeed TrueType takes an algorithmic or programming approach and uses the very flexible and complete instructions set of the TrueType language. us TrueType puts all the hinting information into the font to control exactly how it will appear when rasterized. TrueType interpreters can be quite dumb and limit themselves to simply execute what they have been instructed to do. us, although a TrueType font developer can finetune what happens when a font is rasterized under different conditions, it requires serious effort, expertise, and high-end tools to actually take advantage of this greater hinting potential. As a result, high-quality TrueType fonts, which exploit the true potentials of TrueType hinting are quite rare. Moreover, when using complex hinting the introduction of a new rasterizer might require major changes to the TrueType code in order to be able to optimally display existing fonts. PostScript Type 1 needs two separate files for its font data: one for the character outlines (), and the other for the metrics data ( on Linux, on Windows), containing character widths, kerning pairs, and a description of how to construct composites. TrueType fonts have all the data in a single file. Nevertheless this single TrueType font file is oen twice larger than the two PostScript Type 1 files combined due to the presence in the TrueType fonts of extensive hinting instructions. Generally speaking, PostScript Type 1 fonts have some advantages simply from being the longerestablished standard, especially for serious graphic arts work. Service bureaus are standardized on, and have large investments in, PostScript Type 1 fonts. Most of the fonts which have expert sets of old style figures, extra ligatures, true small capitals and the like are in that format Interoperability In principle one can mix TrueType and PostScript Type 1 fonts with the caveat that the TrueType and PostScript Type 1 instances of the fonts may not have exactly the same names on the given operating system. Indeed, the fact that fonts exist with identical menu names or PostScript Type 1 font names confuses the operating system or the application programs, with oen unpredictable results. Also, if using Windows, one may find that metrically-similar PostScript Type 1 fonts get substituted for the Windows TrueType system fonts at output time: Times New Roman becomes Times Roman, and Arial becomes Helvetica. Although the basic spacing of the substituted fonts is identical, their kerning pairs are not. is can cause text to reflow (i.e., line endings in a paragraph may differ) if one switches between two almost identical fonts if your typesetting program (e.g., TX) supports kerning pairs. ¹See. ²See Dadid Lemon s Basic Type 1 hinting (). ³See the URL, Vincent Connare s Basic hinting philosophies and TrueType instructions. 4 xetex-opentype.tex,v: /06/15
17 1.3 Unicode: the universal character encoding us care must be taken to ensure that you use the correct font all through the complete production chain. 1.3 Unicode: the universal character encoding Unicode is an international standard¹ for representing characters using a multi-byte platformindependent encoding for covering all the world languages (including some artificial ones, such as mathematical symbols and the international phonetic alphabet). Unicode deals with characters rather than glyphs. at is, it only deals with semantic rather than typographic distinctions (with a few exceptions for compatibility with existing standards). erefore there is no place for glyph variants, such as unusual ligatures, old style numbers, or small caps within Unicode itself; the Unicode standard assumes that such distinctions will be made elsewhere. erefore, font formats, which supports such distinctions, such as OpenType (see Section 1.4), need to be layered on top of Unicode. Alan Wood s maintains a useful website () which describes numerous resources for Unicode and multilingual support in HTML, fonts, web browsers and other applications. Most current operating systems (Linux, Mac OS X and Windows XP) have direct support for Unicode at the basic system level. For instance, apart from switching between different language keyboards, these operating systems offer means of directly accessing any Unicode character in any font (e.g., on Mac OS X via the Character Palette and on Microso Windows XP or Vista via the Character Map utility in System Tools in the Accessories submenu.) 1.4 OpenType e OpenType font format was developed jointly by Microso and Adobe as an extension of the True- Type font format. OpenType addresses the following goals: supports PostScript Type 1 outlines and hints; supports TrueType tables and hints; supports advanced typographic features by way of new tables for glyph positioning and substitution; supports multiple platforms; supports international character sets by using Unicode; offers better protection for font data; features smaller file sizes to make font distribution more efficient. Sometimes OpenType fonts are referred to as TrueType Open v.2.0 fonts. PostScript Type 1 data included in OpenType fonts may be directly rasterized or converted to the TrueType outline format for rendering, depending on which rasterizers have been installed in the host operating system. Users do not need to know which outlines are actually present. One can say that OpenType enters TrueType and PostScript Type 1 in a common wrapper. OpenType tables include the current TrueType tables plus some additional tables for advanced typographic features. e representation of PostScript Type 1 font soware in an OpenType font uses Adobe s Compact Font Format (CFF) with Type 2 charstrings, which is a more compact representation of the same information in PostScript Type 1 (a gain of about a factor of two, on average, when no glyphs and features are added). ¹e current version is 5.0 [7] and it has been defined by the members of the Unicode Consortium, which includes major computer corporations, soware producers, database vendors, research institutions, international agencies, various user groups, and interested individuals, see. 5 xetex-opentype.tex,v: /06/15
18 1 POSTSCRIPT FONTS AND BYOND e OpenType format supports features equivalent to most of the advanced features of existing TrueType and PostScript formats, such as Adobe s CID technology for Asian fonts, and extended multilingual character sets. However, multiple master fonts are not part of the OpenType specification. OpenType fonts may contain more than 65,000 glyphs, which allows a single font file to contain many nonstandard glyphs, such as old-style figures, true small capitals, fractions, swashes, superiors, inferiors, titling letters, contextual and stylistic alternates, and a full range of ligatures. OpenType fonts thus offers rich linguistic support combined with advanced typographic control. Feature-rich Adobe Open- Type fonts are oen distinguished by the word Pro, being part of the font name. OpenType fonts can be installed and used alongside PostScript Type 1 and TrueType fonts. OpenType, which is based on Unicode, significantly simplifies font management and the publishing process by ensuring that all of the required glyphs for a document are contained in one crossplatform font file throughout the workflow. e text model of OpenType is that applications store text using the underlying Unicode characters, and apply formatting to get at the specific desired glyphs. In addition to the Unicode mapping of default glyphs, the font has OpenType layout tables which tell it which glyphs to use when other forms are desired instead, such as small caps or swashes. ese tables also specify which glyphs should turn into ligatures, or when a script font needs different glyphs for a letter when it is at the beginning, middle or end of a word, or is a word by itself. Having the transformations distinct from the underlying text enables table-driven automatic glyph substitution, which does not need to be one for one; one glyph can be substituted for several (such as the ffi ligature, which remembers that the underlying text contains the characters f-f-i in searching), or multiple glyphs can be substituted for a single one. Glyph substitution can be context sensitive, or it can be activated by explicit user demand. is feature might not appear essential for Latin-based languages, such as Spanish and nglish, but it becomes mandatory for proper typesetting of languages that use complex scripts, such as Arabic or the Indic languages, since having letters take different forms based on their position in the word is a basic part of how Arabic works. OpenType layout features can be used to position or substitute glyphs. For any character, there is a default glyph and positioning behavior. e application of layout features to one or more characters may change the positioning, or substitute a different glyph. ere are several advantages of using a large OpenType font over currently available expert sets and alternates. First, one only has to deal with one font file, rather than being cluttered with a whole set of supplemental fonts. Second,there can be kerning between glyphs that might otherwise have been in separate fonts. Finally, the user can turn on ligatures, smallcaps, or old-style figures, much like bold or italic styling, without switching fonts. Historically, some of the highest quality typefaces have included different designs for different print sizes. Rather than using its multiple masters technology, most of Adobe s OpenType fonts now include four optical size variations: caption, regular, subhead and display. Called Opticals, these variations have been optimised for use at specific point sizes. Although the exact intended sizes vary by family, the general size ranges include: caption (6 8 point), regular (9 13 point), subhead (14 24 point) and display (25 72 point) OpenType tables OpenType font files contain tables that contain either TrueType or PostScript outline font data and the data in these tables are used by rendering programs to render the TrueType or PostScript glyphs. Moreover, some of the data is independent of the particular outline format used.¹ OpenType fonts first contain a number of required tables. ¹e structure of an OpenType font file is described at the URL ; a short description of the contents of the tables is at the URL. 6 xetex-opentype.tex,v: /06/15
19 1.4 OpenType Character to glyph mapping Font header Horizontal header Horizontal metrics Maximum profile Naming table OS/2 and Windows specific metrics PostScript information For OpenType fonts based on TrueType outlines, the following tables are used: Control Value Table Font program Glyph data Index to location CVT Program For OpenType fonts based on PostScript another set of tables containing data specific to PostScript fonts are used instead of the tables listed above: PostScript font program (compact font format) Vertical Origin OpenType fonts may contain bitmaps of glyphs, in addition to outlines. Hand-tuned bitmaps are especially useful in OpenType fonts for representing complex glyphs at very small sizes. If a bitmap for a particular size is provided in a font, it will be used by the system instead of the outline when rendering the glyph. For OpenType fonts containing bitmap glyphs three tables are available: mbedded bitmap data mbedded bitmap location data mbedded bitmap scaling data Finally, advanced typography, vertical typesetting and other special functions are supported with the following tables: Baseline data Glyph definition data Glyph positioning data Glyph substitution data Justification data Digital signature Grid-fitting/Scan-conversion Horizontal device metrics Kerning Linear threshold data PCL 5 data Vertical device metrics Vertical Metrics header Vertical Metrics Furthermore, OpenType fonts use a set of script, language and feature tags to structure the information in their tables. Script tags identify the scripts represented in an OpenType font. ach script corresponds to a contiguous character code range in Unicode. Script tags are four-byte character strings composed of up to four letters in the ASCII characters range, padding with blanks () if required. A list of scripts and their tags follows.¹ Default Arabic Armenian Bengali Bopomofo Braille Byzantine Music Canadian Syllabics Cherokee Cyrillic Devanagari thiopic Georgian Greek Gujarati Gurmukhi Hangul Jamo Hangul CJK Ideographic Hebrew Hiragana ¹See for an up-to-date list. 7 xetex-opentype.tex,v: /06/15
20 1 POSTSCRIPT FONTS AND BYOND Kannada Katakana Khmer Lao Latin Malayalam Mongolian Myanmar Ogham Oriya Runic Sinhala Syriac Tamil Telugu aana ai Tibetan Yi When the table with the list of scripts is searched for a script, and no entry is found, and there exists an entry for the script, then this entry must be used. Furthermore, the default script can only contain a single, default, language. Language system tags identify the language systems supported in an OpenType font. What is meant by a language system in this context is a set of typographic conventions for how text in a given script should be presented. Such conventions may be associated with particular languages, with particular genres of usage, with different publications, and other such factors. For example, particular glyph variants for certain characters may be required for particular languages, or for phonetic transcription or mathematical notation. Note that two or more languages may follow the same conventions or that more than one set of typographic conventions can apply to a given language. erefore language system tags do not correspond in a one-to-one manner with languages.¹ Language system tags are four-byte character strings composed of up to four characters in the ASCII characters range, padding with blanks () if required. A list of languages and their language system tags follows. Default Abaza Abkhazian Adyghe Afrikaans Afar Agaw Altai Amharic Phonetic transcription (Americanist conventions) Arabic Aari Arakanese Assamese Athapaskan Avar Awadhi Aymara Azeri Badaga Baghelkhandi Balkar Baule Berber Bench Bible Cree Belarussian Bemba Bengali Bulgarian Bhili Bhojpuri Bikol Bilen Blackfoot Balochi Balante Balti Bambara Bamileke Breton Brahui Braj Bhasha Burmese Bashkir Beti Catalan Cebuano Chechen Chaha Gurage Chattisgarhi Chichewa Chukchi Chipewyan Cherokee Chuvash Comorian Coptic Cree Carrier Crimean Tatar Church Slavonic Czech Danish Dargwa ¹See for an up-to-date list of language tags and the correspondece to the ISO 639 codes, which identify individual languages as well as for certain collections of languages. 8 xetex-opentype.tex,v: /06/15
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text:
1. Where is your shop?The shop is located at 2477 Huntley Road in Stittsville (on the second floor). It is open to the public Tuesdays and Wednesdays from 10 until 4, Thursdays from 10 until 8, Fridays and Saturdays from 10 until 4. No appointment necessary!
2. Do you sell at shows?Yes - we travel to 3 or 4 shows a year in Ontario. You can see the list of upcoming shows on the event calendar. 3. How is fabric priced?Fabric is priced by the yard, i.e. 36" x 44" (or the width of fabric).
4. Can I order less than a yard? Yes, we sell in increments of ¼ yard. Simply enter .25, .5, .75, 1, 1.25 etc in the 'Quantity' field. The minimum quantity for a cut of fabric is ¼ yard. ¼ yard cuts are normally sent as fat quarters, unless you request otherwise.
5. What is a fat quarter?A fat quarter is a quarter yard cut of fabric that measures 18" x 21" instead of the typical 9"x 44" quarter yard. A fat quarter offers more versatility as it allows the designer to cut larger pieces of fabric than would be possible from a regular quarter yard. All quarter yard cuts will be sent as fat quarters, unless you request otherwise.
6. What if an item is out of stock?Please contact us to see if we can re-order the item you are looking for.7. When will my order ship?Most orders are packaged the same day, or the next if the order is placed later in the afternoon. We will send you a confirmation email once the order has been shipped.8. Do you ship internationally?Yes we do! Creativity has no borders. See the shipping page for more information.9. Do you charge sales tax?We are obliged to add the applicable HST for residents of Ontario, New Brunswick, Nova Scotia and Newfoundland, and GST for all other Canadian residents.10. What types of payment do you accept?We accept Paypal, Visa and Mastercard for online orders. You can also arrange interac transfer for payment.
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subset: commoncrawl


text:
I would like to know if there is any way to allow users to re-open their own tickets, but at the same time disallow closing them? We do not allow users to send emails to Spiceworks, so this would have to be done through the portal. Problem is, the widget on the portal has the Re-open and Close commands combined.
What I would like is for the Re-open command to appear if the user is viewing a closed ticket. If it is an open ticket, nothing should appear. Is there a way, perhaps though a plug-in, to accomplish this?
This topic was created during version 5.2.
The latest version is 7.5.00101.
9 Replies
Nov 8, 2011 at 12:36 UTC
Inside the helpdesk setup/options, there is an option to let users close their tickets. By deselecting that they lose that ability.
Nov 8, 2011 at 12:47 UTC
I have looked but cannot find that option. Can you be more specific?
Also, I found this nugget elsewhere on Spiceworks site: "To disable the option of closing tickets, just remove the close ticket block from the User Portal Designer"
However, doing this also removes the re-open option, which I'd like to keep.
Nov 14, 2011 at 6:32 UTC
Does anyone have a working solution for this? Or, if it can't be done, can someone confirm that?
Nov 14, 2011 at 6:39 UTC
I'm not seeing an option like that in 5.2. There is an option to keep tickets from being deleted, but not closed.
Nov 14, 2011 at 6:42 UTC
OK a quick search turned this up.User Portal Close Requests
Default: Normal Determines whether or not users can close tickets in the help desk portal. You have 3 options to choose from:
- Normal: Request has a "Close" button and the user can close the request.
- Confirm: Request has a "Close" button and the user can close the request. The user will also receive a pop-up box asking for confirmation.
To disable the option of closing tickets, just remove the close ticket block from the User Portal Designer
The last line is the key to your answer.
Nov 14, 2011 at 6:48 UTC
I saw that, but removing the close ticket block ASLO disables re-opening tickets, since they are combined into the same block. I need to find a way to disable closing tickets without removing the ability for the user to re-open them.
Nov 14, 2011 at 7:47 UTC
I don't know if we are talking about the same close ticket block. This one in available when I went into design the portal then selected one of of the tickets. It opens the page with this content block. If you remove this block does it also removes the ability to open a closed ticket? On my screen the closed tickets content block is below the this content block.
Nov 14, 2011 at 7:55 UTC
Yes, removing that block also removes the ability to re-open tickets, as the portal uses the same content block for both functions.
Nov 14, 2011 at 8:01 UTC
Dang, sorry I though there was a solution here.
This discussion has been inactive for over a year.
You may get a better answer to your question by starting a new discussion.


text:
posted by Dana .
Al and Harpreet are racing to Wing Stop to get the last batch of fries made for lunch. Al participates in cross country and can cover (write in value) per minute. Harpreet likes to watch TV and play video games. She is out of shape and can only cover 3 units per minute. If both students start at the same time from their given positions (write in value), who will make it to wing stop first? at what point on the coordinate grid will Al over take Harpreet.
On coordinate plane: (-5,3), Al:(-2,3), Building B (5,3), Harpreet (5,1), road (5,-3), and wing stop (-5,3)


text:
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