Frontend Redesign changes

README.md

@@ -6,4 +6,20 @@ https://edition640.makingandknowing.org/
 
 ## How to Use
 
-Files in the `docs` directory that have a '.md' extension are watched and processed by the MK Asset Server into HTML. The `menu-structure.json` file provides the layout for the main menu on the MK website. Any routes defined in the JSON file that begin with `/content` will serve files with a matching path from this repository. Please note that the MK Asset Server copies all markdown files found in `docs` and its subdirectories, even if they are not referenced in the menu structure JSON.
+Files in the `docs` directory that have a '.md' extension are watched and processed by the MK Asset Server into HTML. 
+
+### menu-structure.json
+The `menu-structure.json` file provides the layout for the main menu on the MK website. Any routes defined in the JSON file that begin with `/content` will serve files with a matching path from this repository. Please note that the MK Asset Server copies all markdown files found in `docs` and its subdirectories, even if they are not referenced in the menu structure JSON.
+
+Routes in `menu-structure.json` with a `sections` property will populate that page's side navigation bar w/ top level scroll links (see pictured). Each section in `sections` may have `sub_sections` which are the second level scroll links in the page's side navigation bar (see pictured). Both sections and sub_sections need a `title` and `id` property. 
+
+The `title` is what you want the actual link to say. The `id` must match the `id` that will be generated when the markdown file is converted to html. This `id` will be the same text as is in the header in the markdown file but converted to kebab-case. For example, if the markdown file has the following:
+
+```
+...
+## This is The Heading
+...
+```
+The html `id` will look like this: `this-is-the-heading`. So you'd put that as the `id` for the relevant section or sub_section.
+
+

docs/about/credits.md

@@ -1,4 +1,4 @@
-# People and Credits
+## Introduction
 
 In all aspects of research and development, the creation of *Secrets of Craft and Nature in Renaissance France* has brought together scholars, students,
 researchers, practitioners, makers, organizers, advisors, developers,
@@ -19,8 +19,8 @@ An exemplary model of crediting has been formulated in “Off the Tracks: Laying
 Lines for Digital Humanities Scholars,” and we strive to adhere to their
 guidelines as stated in the [Collaborators’ Bill of Rights](http://mcpress.media-commons.org/offthetracks/part-one-models-for-collaboration-career-paths-acquiring-institutional-support-and-transformation-in-the-field/a-collaboration/collaborators%e2%80%99-bill-of-rights/).
 
-For more about the creation of the edition, see [About the Edition](/#content/about/creation)
-and Pamela H. Smith, [Making the Edition of Ms. Fr. 640](/#essays/ann_329_ie_19).
+For more about the creation of the edition, see [About the Edition](/content/about#creation-of-the-edition)
+and Pamela H. Smith, [Making the Edition of Ms. Fr. 640](/essays/ann_329_ie_19).
 
 ## Project Team and Staff
 
@@ -143,7 +143,7 @@ Project Director, Assistant Director, Project Assistant, Digital Lead, and Postd
 | Heather Wacha (2014, 2015, 2016, 2017, 2018-mini, 2018, 2018-micro) <br><br>Soersha Dyon (2014, 2015, 2016, 2017, 2018-mini, 2018, 2018-micro) <br><br>Tillmann Taape (2016, 2017, 2018-mini, 2018, 2018-micro) <br><br>Celine Camps (2016, 2017, 2018-mini, 2018, 2018-micro) <br><br>Gregory Champeaund (2014, 2015, 2016, 2017, 2018-mini) <br><br>Tianna Uchacz (2017, 2018-mini, 2018, 2018-micro) <br><br>Margot Lyautey (2016, 2017, 2018-mini, 2018) <br><br>Colin Debuiche (2016, 2017, 2018-mini, 2018) <br><br>Melissa Reynolds (2015, 2017, 2018, 2018-micro) <br><br>Sophie Pitman (2018-mini, 2018, 2018-micro) <br><br>Sarah Muñoz (2016, 2017, 2018) <br><br>Philip Cherian (2016, 2017, 2018) <br><br>José Beltrán (2015, 2016, 2017) <br><br>François Pageau (2014, 2015, 2016) <br><br>Sebestian Kroupa (2016, 2017) <br><br>Jenny Boulboullé (2015, 2016) <br><br>Joel A. Klein (2015, 2016) <br><br>Justin Rivest (2015, 2016) <br><br>Donna Bilak (2017) <br><br>Ludovic Touzé Peiffer (2017) <br><br>Emma Le Pouesard (2016) <br><br>Ji Gao (2016) | Joslyn DeVinney (2016) <br><br>Miguel Aristondo (2016) <br><br>Nicolas Misery (2015) <br><br>Rozemarijn Landsman (2015) <br><br>Justin Gibson (2015) <br><br>Iara Dundas (2015) <br><br>Lorraine de la Verpillière (2015) <br><br>Lucie Charasson (2015) <br><br>Emogene Cataldo (2015) <br><br>Charlotte Buecheler (2015) <br><br>Dorit Brixius (2015) <br><br>Sean O’Neil (2014) <br><br>Diana Nichols (2014) <br><br>Melissa Morris (2014) <br><br>Matthias Lakits (2014) <br><br>Abram Kaplan (2014) <br><br>Lydia Hansell (2014) <br><br>Séverin Duc (2014) <br><br>Éliseé Dion (2014) <br><br>Tamara Caulkins (2014) <br><br>Emma Capron (2014) <br><br>Adham Azab (2014) |
 
 ## *Craft & Science: Making Objects in the Early Modern World* Laboratory Seminar Participants
-This hybrid laboratory-discussion graduate seminar offered through Columbia’s History Department combined historical research with hands-on skill-building and reconstructions of Ms. Fr. 640’s recipes in the Making and Knowing Laboratory. Student final essays for this course appear in this digital critical edition under [Essays](/#essays).
+This hybrid laboratory-discussion graduate seminar offered through Columbia’s History Department combined historical research with hands-on skill-building and reconstructions of Ms. Fr. 640’s recipes in the Making and Knowing Laboratory. Student final essays for this course appear in this digital critical edition under [Essays](/essays).
 
 Each semester of the *Craft and Science* Lab Seminar was driven by a guiding theme to draw together components of the manuscript and provide focus for analysis and activities, as described below.