diff --git a/README.md b/README.md
index c2f2bd7..bd6e4d4 100644
--- a/README.md
+++ b/README.md
@@ -9,7 +9,7 @@
 > *Chinese* as Chinese spoken language.
 > *Hanzi* as Chinese written characters (汉字).
 > *Nüshu* as Nüshu script. *Nüshu script* as it is sounds redundant, as *Nü* (where the ü is pronounced like a French [u]) means ‘woman’ (女), and *shū* (书 - meaning more commonly ‘book’ but also ‘script’) stands for script already.
-> *Tuhua* as local dialects.
+> *Tuhua* as local dialects (more explanations further below).
 
 
 
@@ -26,10 +26,11 @@ Until very recently though, this happened to one of them, on its almost-extinct
 
 
 
-Nüshu is the only writing system developed and used exclusively by women in History in the world (as we know it so far... no one knows what is still awaiting to be discovered...) in the south west region of Hunan (湖南省) in China.
+Nüshu is the only writing system developed and used exclusively by women in History in the world (as we know it so far... no one knows what is still awaiting to be discovered...) in the South East region of Hunan (湖南省) in China.
 
 
-> Description of Nüshu, as part of the latest update in the Unicode Standard: "Nüshu is a siniform script devised by and for women to write the local Chinese dialect of south eastern Hunan province, China. Nüshu is based on Chinese Han characters. Unlike Chinese, the characters typically denote the phonetic value of syllables. Less often Nüshu characters are used as ideographs. Although very few fluent Nüshu users were alive in the late twentieth century, the script has drawn national and international attention, leading to the study and preservation of the script." ([The Unicode Standard, version 12.0 - Core Specification - Chapter 18, East Asia, p.742](https://www.unicode.org/versions/Unicode12.0.0/ch18.pdf), March 2019)
+> Description of Nüshu, as part of the latest update in the Unicode Standard: "Nüshu is a siniform* script devised by and for women to write the local Chinese dialect of south eastern Hunan province, China. Nüshu is based on Chinese Han characters. Unlike Chinese, the characters typically denote the phonetic value of syllables. Less often Nüshu characters are used as ideographs. Although very few fluent Nüshu users were alive in the late twentieth century, the script has drawn national and international attention, leading to the study and preservation of the script." ([The Unicode Standard, version 12.0 - Core Specification - Chapter 18, East Asia, p.742](https://www.unicode.org/versions/Unicode12.0.0/ch18.pdf), March 2019)
+> *siniform: writing system that is based on or influenced by Chinese writing system.
 
 
 This unique writing system lives in the remote areas of the province of Hunan, more precisely within the district of Jiangyong (江永县). The closest large city is Guilin (桂林), famous for its particular high mountains specific to the region. Jiangyong county spreads on about 1600 km², which a bit larger than the Greater London (1500 km²) but with a much fewer population (about 240,000 in 2015) with two main ethnic groups: Han and Yao. [1](https://en.wikipedia.org/wiki/Jiangyong_County)
@@ -41,7 +42,7 @@ This unique writing system lives in the remote areas of the province of Hunan, m
 ![ShangGanTang village](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/01-ShangGanTang-village.jpeg)
 *One of the many villages in the region, Shang Gan Tang 上甘棠，with over 1100 years of history.*
 
-Nüshu is the phonetic transcription of 女书 in Chinese, which literally means 'woman' for 女 and 'script' or 'writing' for 书 (although it means ‘book’ more often). Just like when we speak of Lishu (隶书) for Clerical script, Kaishu (楷书) for Regular script or Caoshu (草书) for Cursive script.
+*Nüshu* is the phonetic transcription of 女书 in Chinese, which literally means 'woman' for 女 and 'script' or 'writing' for 书 (although it means ‘book’ more often). Just like when we speak of Lishu (隶书) for Clerical script, Kaishu (楷书) for Regular script or Caoshu (草书) for Cursive script.
 
 ![Lishu sample](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/01-lishu-Caoquanbei.jpg)
 *Lishu sample on Cao Quan Stele 曹全碑, from the Beilin Museum collection in Xi'an (碑林, 西安)*
@@ -54,9 +55,9 @@ Nüshu is the phonetic transcription of 女书 in Chinese, which literally means
 
 These examples show different calligraphic styles of a same script: Hanzi. Nüshu is a different script, strongly related to Chinese and to Hanzi.
 
-> note: Nüshu is called "Mosquito legs script" (蚊脚字) by the locals.
+> note: Nüshu is called "Mosquito legs script" (蚊脚字) by the locals, while *Nüshu* is a denomination given to the script by academics.
 
-Nüshu is not to be put in the same basket as the other calligraphy scripts, as it is not the visual transcription of Chinese language (so to speak), but one of the native dialects in the area shown on the map above. The 's' is for the several dialects, locally called *Tuhua* (土话, literally 'land language'), spoken by the inhabitants (both women and men) of many villages, towns and cities in Jiangyong county.
+Nüshu is not to be put in the same basket as the other calligraphy scripts, as it is not the visual transcription of Chinese language (so to speak), but one of the many local dialects in the area shown on the map above. The 's' stands for the dialects put together, called *Tuhua* by the locals (土话, literally 'land language'), spoken by the inhabitants (both women and men) of many villages, towns and cities in Jiangyong county.
 
 
 
@@ -64,7 +65,7 @@ Nüshu is not to be put in the same basket as the other calligraphy scripts, as
 
 
 
-Even until nowadays it is hard to determine with certainty a date of origins for Nüshu, as there are very few old documents with this script or traces of its beginnings remaining (see in *Chapter 06. How is it used* to know why). But, it is said by most (serious) researchs that Nüshu finds its origins around the 9th century, during the beginning of Song dynasty (960–1279) from the oldest still existing documents or more recent ones mentioning Nüshu. Most of the documents and artefacts with Nüshu are dated from Ming (1368–1644) and Qing (1644–1911) dynasties, kept in Hunan Museum in Changsha. Bronze coins dated from [Taiping Heavenly Kingdom](https://en.wikipedia.org/wiki/Taiping_Heavenly_Kingdom) (太平天国) era (1851–1864) has been discovered in 1993 in Nanjing (much further North to Jiangyong) with Nüshu characters on one side saying "women under the sky, sisters of one family" (天下妇女，姊妹一家). It is the oldest artefact found with Nüshu characters so far.
+Even until nowadays it is hard to determine with certainty a date of origins for Nüshu, as there are very few old documents with this script or traces of its beginnings remaining (see in *Chapter 06. How is it used* to know why). But, it is said by most (serious) research that Nüshu finds its origins around the 9th century, during the beginning of Song dynasty (960–1279) from the oldest still existing documents or more recent ones mentioning Nüshu. Most of the documents and artefacts with Nüshu are dated from Ming (1368–1644) and Qing (1644–1911) dynasties, kept in Hunan Museum in Changsha. Bronze coins dated from [Taiping Heavenly Kingdom](https://en.wikipedia.org/wiki/Taiping_Heavenly_Kingdom) (太平天国) era (1851–1864) has been discovered in 1993 in Nanjing (much further North to Jiangyong) with Nüshu characters on one side saying "women under the sky, sisters of one family" (天下妇女，姊妹一家). It is the oldest artefact found with Nüshu characters so far.
 
 ![Bronze coin](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/02-bronze-coin.jpg)
 *Bronze coin imprint with Nüshu correspondence, courtesy of Pr Zhao Liming 赵丽明*
@@ -75,15 +76,15 @@ Even until nowadays it is hard to determine with certainty a date of origins for
 
 
 
-In a feodal China, women were not allowed to learn or write, a privilege given to the imperial family, nobility, administration and academics (exclusively men, apart from a handful of high rank women in the imperial family…). Literacy in China was at very low rate, for both men and women (literacy rates for women was very likely even lower than for men) until the 1950’s only! (see [China’s Long — but Uneven — March to Literacy](https://www.nytimes.com/2001/02/12/news/chinas-long-but-uneven-march-to-literacy.html) by Ted Plafker, New York Times, 2001).
+In a feudal China, women were not allowed to read or write (Hanzi), a privilege given to the imperial family, nobility, administration and academics (which are exclusively men, apart from a handful of high rank women in the imperial family…). Literacy in China was at very low rate, for both men and women (literacy rates for women was very likely even lower than for men) until the 1950’s only! (see [China’s Long — but Uneven — March to Literacy](https://www.nytimes.com/2001/02/12/news/chinas-long-but-uneven-march-to-literacy.html) by Ted Plafker, New York Times, 2001).
 
-In remote regions hardly accessible like Jiangyong in Hunan, exchanges of informations were rare, as moving to one village to another could take days if not weeks. Women in these rural areas were put away from society, "only" in charge of the household chores and children, cut-off any activities or events outside of their villages.
+In remote regions hardly accessible like Jiangyong in Hunan, exchanges of informations were rare, as moving to one village to another could take days if not weeks. Women in these rural areas were put away from society, left "only" in charge of the household chores and children, cut-off from any activities or events outside of their villages.
 
-Once a women is wed (to a husband from another village), she would have to move to the husband's family, which means leaving her own family, friends and birthplace. Women in Jiangyong didn't know that much about outside world's activity or news, but needed to keep contact with their loved ones.
+Once a women is wed (to a husband from another village), she would have to move to the husband's family, which means leaving her own family, friends and birthplace. Women in Jiangyong didn't know that much about outside world's activity or news (and didn't care much about it), but needed to keep contact with their loved ones.
 
 Family and friendship are very cherished bonds, going from mother and daughters to sisters, cousins, etc… They have a tradition that can be called "sworn sisters" (结拜姊妹), like a best friend bond, an officially recognized relationship in the area, between two girls from different families allowing to freely move from one place to another without a male tutor (a widely spread rule in the patriarchal system).
 
-In this context, women created on parallel world a creative way full of practical sense to communicate between each other despite distances. They kept the script evolving through times, using it in many ways and ended up creating a culture of their own, aside the culture of men. This script is an wonderful example of creativity resulting from a social separation between men and women, and at the same time a strong solution to a problem: a missing connexion with cherished people and more. It shows also the character of the women who created, developed and used, still use nowadays, cultivating a strong personality with pride and calling themselves ‘gentlemen ladies’ (君子女) who have attitude, self-cultivation, spirit and interest (气质，修养，性情，志趣).
+In this context, women created in their parallel world a creative way full of practical sense to communicate between each other despite distances. They kept the script evolving through times, using it in many ways and ended up creating a culture of their own, aside the culture of men. This script is an wonderful example of creativity resulting from a social separation between men and women, and at the same time a strong solution to a problem: a missing connexion with cherished people and more. It shows also the character of the women who created, developed and used, still use nowadays, cultivating a strong personality with pride and calling themselves ‘gentlemen ladies’ (君子女) who have attitude, self-cultivation, spirit and interest (气质，修养，性情，志趣).
 
 
 
@@ -95,23 +96,23 @@ The mysterious look of the script for people unfamiliar with it created stories
 But, more seriously, it is obvious that women who created and developed Nüshu got inspiration from Hanzi shapes and features (they used what they could see around them). Many Nüshu characters are even sort of distorted Hanzi characters, along with many other non-Hanzi related glyphs at all.
 
 ![Comparison Hanzi and Nushu similar](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/04-comparison-CN-NS-similar.jpg)
-*top and bottom glyphs are strongly related in shapes, also for some situations related in sound and meaning*
+*Top and bottom glyphs are strongly related in shapes, also for some situations related in sound and meaning*
 
 While Hanzi has a relatively large panel of strokes and shapes as elements of construction, several stroke directions and contrast given by the calligraphy brush, Nüshu is much more simpler (in a way). It has no strictly vertical or horizontal strokes, only curvy diagonals and lines (even the circles are made of two curves), mostly turned towards left, no punctuation, no *serifs* and no contrast (at least in its original version - as I had the possiblity to choose between working on Noto Sans or Serif for the Nüshu part, the Sans version seems the most relevant to start with and closest to the script itself).
 
 ![Comparison Hanzi and Nushu strokes](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/04-comparison-CN-NS-strokes.jpg)
-*stroke directions in Hanzi can go in all directions, while for Nüshu it is (mostly) curves towards left and bottom*
+*Stroke directions in Hanzi can go in all directions, while for Nüshu it is (mostly) curves towards left and bottom*
 
 The characters in Nüshu are written and read vertically, then from right to left just like traditional Chinese texts. With Hanzi characters, one of the prominent rule besides balance of weights and white space is having the left side heavier than the right side (左重右轻 - ‘left heavy right light’). For Nüshu characters, balance is also a main point of focus, but the difference is their diamond shape general form and the rule of having the left side lower than the right side (右高左底 - ‘right high left low’).
 
 ![Comparison Hanzi and Nushu frames](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/04-comparison-CN-NS-frame.jpg)
-*this is a frame for Nüshu not to be taken by the letter, but it shows its general form...*
+*This is a frame for Nüshu not to be taken by the letter, but it shows its general form...*
 
 Their overall proportions are quite elongated, much narrower than Hanzi characters. To keep the same level of legibility when set aside Latin letters or even Hanzi characters, they would go beyond both top and bottom heights.
 
 ![Comparison Hanzi and Nushu alignments](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/04-comparison-CN-NS-height-alignment.jpg)
 
-The elongated proportions of Nüshu characters is in itself a result of a women-men separation. For Hanzi calligraphy, there are the *Four Treasures of the Study* (文房四宝), calligrapher's four essential items: brush, ink, paper and inkstone. All these put on a table, also mostly especially designed for calligraphy. These were “men’s realm”, therefore not allowed to women. They had to find other tools for Nüshu usage, and apart of paper or booklets, they created their own *Treasures*: wood (or bamboo) stick, ash from wok pans bottom, paper (also cloths, fans, booklets…) and thighs as their table.
+The elongated proportions of Nüshu characters is in itself a result of a women-men separation. For Hanzi calligraphy, there are the *Four Treasures of the Study* (文房四宝), calligrapher's four essential items: brush, ink, paper and inkstone. All these put on a table, also mostly especially designed for calligraphy. These were “men’s realm”, therefore not allowed to women. They had to find other tools for Nüshu usage, and apart of paper or booklets, they created their own *Treasures*: wood or bamboo stick as pen, ash from wok pans bottom as ink, paper (also cloths, fans, booklets…) and their thighs as table.
 
 ![Tools for Nushu](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/04-tools.jpg)
 *Fan, booklet, wok ash and wood-cut pen, courtesy of Nüshu script Museum*
@@ -152,7 +153,7 @@ Many legends or stories about the first uses of Nüshu surround the script, but
 * write down autobiographies with all their thoughts, good and bad, mostly on a Third Day Book (三朝书), a cloth bound with paper pages booklet. It is the most valuable gift offered three days after a woman's wedding by her mother or other sworn sisters, with the three first pages written with songs wishing happiness to the newly wed. The rest of the book were left blank so that the newly wed wife could write her own texts. These are burnt with the author's body during the funeral ceremony… This shows how important the book and the script is to the women!
 
 ![Third Day Book](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/06-three-mornings-book.jpg)
-*handbound and written by Hu Yanyu 胡艳玉 (1978 -)*
+*A Third Day Book handbound and written by Hu Yanyu 胡艳玉 (1978 -)*
 
 * create songs, ballads and poems (Seven Words Verses - 七言韵文, similar to French Alexandrins), commonly on fans, to be shared and taught to others, sung during gatherings, transcribe popular Mandarin ones into Tuhua
 
@@ -163,7 +164,7 @@ Many legends or stories about the first uses of Nüshu surround the script, but
 * be also sewn on silk cloths as decorative items or cotton or silk belts (带子花) for newborns clothes, with characters for happiness and health as a lucky charm
 
 ![Silk belts](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/06-silk-belt.jpg)
-*silk belts woven with Nüshu characters in, courtesy of the Nüshu script Museum*
+*Silk belts woven with Nüshu characters in, courtesy of the Nüshu script Museum*
 
 Nüshu allowed farmland and mountain village women not only to communicate between each other when they were not allowed to write or read, but also to develop their very own culture.
 
@@ -177,10 +178,10 @@ Nüshu has been taught directly from one woman to another(s), generally from mot
 To add another layer of complexity, the dialect used in one village can be slightly different in their pronunciation to the one used nearby, which influences the characters used in Nüshu.
 
 ![Transmission](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/07-transmission.jpg)
-*reading and singing session with Hu Meiyue 胡美月 in center left, courtesy of Nüshu script Museum*
+*Reading and singing session with Hu Meiyue 胡美月 in center left, courtesy of Nüshu script Museum*
 
 ![Village hall](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/07-village-hall.jpg)
-*group learning session in a village hall, courtesy of Nüshu script Museum*
+*Group learning session in a village hall, courtesy of Nüshu script Museum*
 
 These two factors make the standardization of the script very complex and can’t be brought to the same accuracy as Latin script for example. It wouldn’t be quite respectful towards the script’s nature to force it into a static system, but very recently local women who are still teaching Nüshu are very much aware of the importance of keeping their knowledge aligned in the entire Jiangyong area, to keep their culture alive, as united as possible both in their history and in their population.
 
@@ -224,17 +225,17 @@ Current generations in Jiangyong are fighting to keep this culture alive with de
 Usage of calligraphic brushes to do Nüshu calligraphy is adopted since a few decades, to write poems, short words or sayings. Displayed like Chinese calligraphy, they show an even more appealing look, a look closer to the calligraphy in Hanzi appreciated and familiar to Chinese people or Chinese speakers.
 
 ![calligraphy in Nushu](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/09-calligraphy-nushu.jpg)
-*translation: 'all the happiness at home', by Zhou Shaolian 周少莲*
+*Translation: 'All the happiness at home', by Zhou Shaolian 周少莲*
 
 ![one character calligraphy](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/09-calligraphy.jpg)
-*character for 'home' 家, by Hu Meiyue 胡美月,2019*
+*Character for 'Home' 家, by Hu Meiyue 胡美月,2019*
 
 Men calligraphers, researchers and academics also started to write Nüshu, and the masculine feel can oddly be seen even on feminine characters!
 
 ![nushu by man calligrapher](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/09-man-calligraphy-nushu.jpg)
 *Calligraphy in Nüshu by a man calligrapher (author and date unknown), courtesy of the Nüshu script Museum*
 
-Digital presence of Nüshu script has been brought up to existence thanks to "Professor Liming Zhao* and her group of Nyushu rescuing project from Tsinghua University collected and organized around 1,000 original documents written in Nyushu in total and translated 640 readable files from them character by character into Chinese. The scanned pictures of these 640 files and their 220,000-character translation in Chinese are published as the 5-volume Chinese Nyushu Collection by Zhonghua Book Company in 2005." (extract from [Theory and Rules of Nushu Character Unification](https://www.unicode.org/L2/L2014/14244-n4639.pdf), Liming Zhao, Sept 23, 2014)
+Digital presence of Nüshu script has been brought up to existence thanks to "Professor Liming Zhao and her group of Nyushu rescuing project from Tsinghua University collected and organized around 1,000 original documents written in Nyushu in total and translated 640 readable files from them character by character into Chinese. The scanned pictures of these 640 files and their 220,000-character translation in Chinese are published as the 5-volume Chinese Nyushu Collection by Zhonghua Book Company in 2005." (extract from [Theory and Rules of Nushu Character Unification](https://www.unicode.org/L2/L2014/14244-n4639.pdf), Liming Zhao, Sept 23, 2014)
 In June 2017, the resulting list of 396 selected Nüshu glyphs have been added into Unicode 10.0 version ([range 1B170 to 1B2FF](https://www.unicode.org/charts/PDF/U1B170.pdf)). Since then, digitization attempts have started here and there by universities, academics and designers, but none of them have been fully finished and published yet… before Noto Sans Nüshu!
 
 > Pr. Zhao Liming (赵丽明博士) is professor in Chinese Linguistics specialised in South Western endangered languages at Tsinghua University in Beijing. Her research in Nüshu started over 30 years ago and is still going on, in collaboration with academics from many other international universities.
@@ -257,7 +258,7 @@ As already mentioned before (in *Chapter 04. The look*), I decided to focus on a
 ![Noto Nushu with Latin and Hanzi](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/images-presentation/10-Noto-with-other-scripts.jpg)
 
 
-My connection to the script is very thin: being Chinese (and a woman) doesn’t make me 100% legitimate to design a Nüshu typeface accurately and naturally, but the will to design it as faithfully as possible made me reaching Pr. Zhao Liming in person and all the women I could meet in Jiangyong, at the Nüshu script Museum, receiving their experience and opinions through the process, look at as many Nüshu texts as I could find, and dive into this peculiar culture. My abilities as a type designer made me care about details, extract the most common features from documents and samples, examine hand written characters and deduce how shapes could be made consistent accross the entire set for a digital font. You can find all the informations collected and sorted in my Process voyage [here](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/process.md), feedbacks, opinions and discussions are also very much welcome! 🙃
+My connection to the script is quite thin: being Chinese (and a woman) doesn’t make me 100% legitimate to design a Nüshu typeface accurately and naturally, but the will to design it as faithfully as possible made me reaching Pr. Zhao Liming in person and all the women I could meet in Jiangyong, at the Nüshu script Museum, receiving their experience and opinions through the process, look at as many Nüshu texts as I could find, and dive into this peculiar culture. My abilities as a type designer made me care about details, extract the most common features from documents and samples, examine hand written characters and deduce how shapes could be made consistent accross the entire set for a digital font. You can find all the informations collected and sorted in my Process voyage [here](https://github.com/LisaHuang2017/noto-sans-nushu/blob/master/process.md), feedbacks, opinions and discussions are also very much welcome! 🙃
 
 
 
diff --git a/source/NotoSansNushu.glyphs b/source/NotoSansNushu.glyphs
index 7ae02b2..e4bfabb 100644
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+++ b/source/NotoSansNushu.glyphs
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