From: Nathan Williams Date: Tue, 13 Dec 2022 21:40:50 +0000 (-0800) Subject: Apply requested article edits. (#5710) X-Git-Url: http://git.ipfire.org/cgi-bin/gitweb.cgi?a=commitdiff_plain;h=235532ac57fade3eff03195a41841f38f4c94013;p=thirdparty%2Fgoogle%2Ffonts.git Apply requested article edits. (#5710) --- diff --git a/ofl/anekbangla/article/ARTICLE.en_us.html b/ofl/anekbangla/article/ARTICLE.en_us.html index c0eabee081..76d4b992d6 100644 --- a/ofl/anekbangla/article/ARTICLE.en_us.html +++ b/ofl/anekbangla/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

Anek, as the meaning of the word suggests, is an exercise in multiplicity — multiple scripts designed in multiple + weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India’s + letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. +

+

Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep + structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter + yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and + tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that + magnetic word-mark.

+

Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, + Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively + decided pool of visual features. At the same time, each script amalgamates influences from its own typographic + culture as well as the perspectives of individual designers.

+

This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai + focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek + Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan + (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee + Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design + assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi.

+

To contribute, see github.com/EkType/Anek

+

Multiple scripts for multilingual India

The award-winning Anek variable font

@@ -18,3 +39,4 @@

Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them.

Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes.

Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. “Everyone had the time to venture in different directions, not getting colored by what the others were doing,” said Noopur Datye, co-founder and type designer at Ek Type.

+

To learn more, read Multilingual scripts for multilingual India.

diff --git a/ofl/anekdevanagari/article/ARTICLE.en_us.html b/ofl/anekdevanagari/article/ARTICLE.en_us.html index c0eabee081..35660c4e3d 100644 --- a/ofl/anekdevanagari/article/ARTICLE.en_us.html +++ b/ofl/anekdevanagari/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

Anek, as the meaning of the word suggests, is an exercise in multiplicity — multiple scripts designed in multiple + weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India’s + letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. +

+

Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep + structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter + yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and + tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that + magnetic word-mark.

+

Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, + Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively + decided pool of visual features. At the same time, each script amalgamates influences from its own typographic + culture as well as the perspectives of individual designers.

+

This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai + focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek + Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan + (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee + Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design + assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi.

+

To contribute, see github.com/EkType/Anek

+

Multiple scripts for multilingual India

The award-winning Anek variable font

@@ -18,3 +39,4 @@

Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them.

Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes.

Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. “Everyone had the time to venture in different directions, not getting colored by what the others were doing,” said Noopur Datye, co-founder and type designer at Ek Type.

+

To learn more, read Multilingual scripts for multilingual India.

diff --git a/ofl/anekgujarati/article/ARTICLE.en_us.html b/ofl/anekgujarati/article/ARTICLE.en_us.html index c0eabee081..76d4b992d6 100644 --- a/ofl/anekgujarati/article/ARTICLE.en_us.html +++ b/ofl/anekgujarati/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

Anek, as the meaning of the word suggests, is an exercise in multiplicity — multiple scripts designed in multiple + weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India’s + letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. +

+

Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep + structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter + yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and + tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that + magnetic word-mark.

+

Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, + Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively + decided pool of visual features. At the same time, each script amalgamates influences from its own typographic + culture as well as the perspectives of individual designers.

+

This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai + focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek + Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan + (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee + Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design + assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi.

+

To contribute, see github.com/EkType/Anek

+

Multiple scripts for multilingual India

The award-winning Anek variable font

@@ -18,3 +39,4 @@

Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them.

Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes.

Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. “Everyone had the time to venture in different directions, not getting colored by what the others were doing,” said Noopur Datye, co-founder and type designer at Ek Type.

+

To learn more, read Multilingual scripts for multilingual India.

diff --git a/ofl/anekgurmukhi/article/ARTICLE.en_us.html b/ofl/anekgurmukhi/article/ARTICLE.en_us.html index c0eabee081..76d4b992d6 100644 --- a/ofl/anekgurmukhi/article/ARTICLE.en_us.html +++ b/ofl/anekgurmukhi/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

Anek, as the meaning of the word suggests, is an exercise in multiplicity — multiple scripts designed in multiple + weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India’s + letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. +

+

Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep + structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter + yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and + tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that + magnetic word-mark.

+

Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, + Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively + decided pool of visual features. At the same time, each script amalgamates influences from its own typographic + culture as well as the perspectives of individual designers.

+

This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai + focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek + Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan + (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee + Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design + assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi.

+

To contribute, see github.com/EkType/Anek

+

Multiple scripts for multilingual India

The award-winning Anek variable font

@@ -18,3 +39,4 @@

Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them.

Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes.

Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. “Everyone had the time to venture in different directions, not getting colored by what the others were doing,” said Noopur Datye, co-founder and type designer at Ek Type.

+

To learn more, read Multilingual scripts for multilingual India.

diff --git a/ofl/anekkannada/article/ARTICLE.en_us.html b/ofl/anekkannada/article/ARTICLE.en_us.html index c0eabee081..76d4b992d6 100644 --- a/ofl/anekkannada/article/ARTICLE.en_us.html +++ b/ofl/anekkannada/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

Anek, as the meaning of the word suggests, is an exercise in multiplicity — multiple scripts designed in multiple + weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India’s + letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. +

+

Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep + structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter + yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and + tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that + magnetic word-mark.

+

Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, + Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively + decided pool of visual features. At the same time, each script amalgamates influences from its own typographic + culture as well as the perspectives of individual designers.

+

This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai + focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek + Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan + (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee + Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design + assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi.

+

To contribute, see github.com/EkType/Anek

+

Multiple scripts for multilingual India

The award-winning Anek variable font

@@ -18,3 +39,4 @@

Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them.

Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes.

Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. “Everyone had the time to venture in different directions, not getting colored by what the others were doing,” said Noopur Datye, co-founder and type designer at Ek Type.

+

To learn more, read Multilingual scripts for multilingual India.

diff --git a/ofl/aneklatin/article/ARTICLE.en_us.html b/ofl/aneklatin/article/ARTICLE.en_us.html index c0eabee081..76d4b992d6 100644 --- a/ofl/aneklatin/article/ARTICLE.en_us.html +++ b/ofl/aneklatin/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

Anek, as the meaning of the word suggests, is an exercise in multiplicity — multiple scripts designed in multiple + weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India’s + letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. +

+

Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep + structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter + yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and + tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that + magnetic word-mark.

+

Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, + Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively + decided pool of visual features. At the same time, each script amalgamates influences from its own typographic + culture as well as the perspectives of individual designers.

+

This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai + focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek + Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan + (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee + Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design + assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi.

+

To contribute, see github.com/EkType/Anek

+

Multiple scripts for multilingual India

The award-winning Anek variable font

@@ -18,3 +39,4 @@

Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them.

Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes.

Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. “Everyone had the time to venture in different directions, not getting colored by what the others were doing,” said Noopur Datye, co-founder and type designer at Ek Type.

+

To learn more, read Multilingual scripts for multilingual India.

diff --git a/ofl/anekmalayalam/article/ARTICLE.en_us.html b/ofl/anekmalayalam/article/ARTICLE.en_us.html index c0eabee081..76d4b992d6 100644 --- a/ofl/anekmalayalam/article/ARTICLE.en_us.html +++ b/ofl/anekmalayalam/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

Anek, as the meaning of the word suggests, is an exercise in multiplicity — multiple scripts designed in multiple + weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India’s + letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. +

+

Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep + structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter + yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and + tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that + magnetic word-mark.

+

Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, + Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively + decided pool of visual features. At the same time, each script amalgamates influences from its own typographic + culture as well as the perspectives of individual designers.

+

This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai + focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek + Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan + (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee + Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design + assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi.

+

To contribute, see github.com/EkType/Anek

+

Multiple scripts for multilingual India

The award-winning Anek variable font

@@ -18,3 +39,4 @@

Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them.

Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes.

Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. “Everyone had the time to venture in different directions, not getting colored by what the others were doing,” said Noopur Datye, co-founder and type designer at Ek Type.

+

To learn more, read Multilingual scripts for multilingual India.

diff --git a/ofl/anekodia/article/ARTICLE.en_us.html b/ofl/anekodia/article/ARTICLE.en_us.html index c0eabee081..76d4b992d6 100644 --- a/ofl/anekodia/article/ARTICLE.en_us.html +++ b/ofl/anekodia/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

Anek, as the meaning of the word suggests, is an exercise in multiplicity — multiple scripts designed in multiple + weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India’s + letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. +

+

Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep + structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter + yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and + tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that + magnetic word-mark.

+

Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, + Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively + decided pool of visual features. At the same time, each script amalgamates influences from its own typographic + culture as well as the perspectives of individual designers.

+

This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai + focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek + Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan + (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee + Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design + assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi.

+

To contribute, see github.com/EkType/Anek

+

Multiple scripts for multilingual India

The award-winning Anek variable font

@@ -18,3 +39,4 @@

Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them.

Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes.

Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. “Everyone had the time to venture in different directions, not getting colored by what the others were doing,” said Noopur Datye, co-founder and type designer at Ek Type.

+

To learn more, read Multilingual scripts for multilingual India.

diff --git a/ofl/anektamil/article/ARTICLE.en_us.html b/ofl/anektamil/article/ARTICLE.en_us.html index c0eabee081..76d4b992d6 100644 --- a/ofl/anektamil/article/ARTICLE.en_us.html +++ b/ofl/anektamil/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

Anek, as the meaning of the word suggests, is an exercise in multiplicity — multiple scripts designed in multiple + weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India’s + letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. +

+

Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep + structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter + yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and + tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that + magnetic word-mark.

+

Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, + Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively + decided pool of visual features. At the same time, each script amalgamates influences from its own typographic + culture as well as the perspectives of individual designers.

+

This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai + focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek + Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan + (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee + Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design + assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi.

+

To contribute, see github.com/EkType/Anek

+

Multiple scripts for multilingual India

The award-winning Anek variable font

@@ -18,3 +39,4 @@

Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them.

Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes.

Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. “Everyone had the time to venture in different directions, not getting colored by what the others were doing,” said Noopur Datye, co-founder and type designer at Ek Type.

+

To learn more, read Multilingual scripts for multilingual India.

diff --git a/ofl/anektelugu/article/ARTICLE.en_us.html b/ofl/anektelugu/article/ARTICLE.en_us.html index c0eabee081..76d4b992d6 100644 --- a/ofl/anektelugu/article/ARTICLE.en_us.html +++ b/ofl/anektelugu/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

Anek, as the meaning of the word suggests, is an exercise in multiplicity — multiple scripts designed in multiple + weights and widths by multiple designers. A well-informed, conscientious and refreshing interpretation of India’s + letter traditions, this family offers a versatile system that can meet the demands of a wide range of applications. +

+

Its expansive design space allows Anek to don multiple personalities. At its most condensed, capsular forms keep + structures compact for that graphic texture. On the wide end of the spectrum, the extra legroom lets each letter + yawn and stretch into their message. But it is in the boldest weights that Anek comes alive. Sharp terminals and + tapered joineries sparkle amidst regimented forms, making this ideal for setting titillating headlines or that + magnetic word-mark.

+

Anek comes in ten scripts: Bangla, Devanagari, Kannada, Latin, Gujarati, Gurmukhi, + Malayalam, Odia, Tamil and Telugu. The shared aesthetics of this type-family are drawn from a collaboratively + decided pool of visual features. At the same time, each script amalgamates influences from its own typographic + culture as well as the perspectives of individual designers.

+

This project is designed, engineered and maintained by Ek Type; a collective of type designers based in Mumbai + focused on designing contemporary Indian typefaces. Contributors of this project are: Maithili Shingre (Anek + Malayalam, Anek Kannada), Yesha Goshar (Anek Latin, Anek Odia), Kailash Malviya (Anek Devanagari), Aadarsh Rajan + (Anek Tamil), Sulekha Rajkumar (Anek Bangla), Vaishnavi Murthy (Anek Kannada), Omkar Bhoir (Anek Telugu), Mrunmayee + Ghaisas (Anek Gujarati), Mahesh Sahu (Anek Odia), and Sarang Kulkarni (Anek Gurmukhi). Project management and design + assistance by Noopur Datye, and Font engineering and design assistance by Girish Dalvi.

+

To contribute, see github.com/EkType/Anek

+

Multiple scripts for multilingual India

The award-winning Anek variable font

@@ -18,3 +39,4 @@

Ten people focused on one script each, while the other two members worked on font engineering and project management. The designers focused on the script that was most familiar to them.

Via three- to four-hour weekly video calls, team members annotated drawings with emojis, arrows, text, and other marks in their video conference platform. In between calls, the team collaborated online. The team made design decisions based on majority or unanimous votes.

Before the pandemic, most of the team had worked together at the Ek Type studio in Mumbai. Remote work created some unforeseen benefits. “Everyone had the time to venture in different directions, not getting colored by what the others were doing,” said Noopur Datye, co-founder and type designer at Ek Type.

+

To learn more, read Multilingual scripts for multilingual India.

diff --git a/ofl/atkinsonhyperlegible/article/ARTICLE.en_us.html b/ofl/atkinsonhyperlegible/article/ARTICLE.en_us.html index b8ad0d1dde..9e87509696 100644 --- a/ofl/atkinsonhyperlegible/article/ARTICLE.en_us.html +++ b/ofl/atkinsonhyperlegible/article/ARTICLE.en_us.html @@ -1,3 +1,7 @@ +

Atkinson Hyperlegible, named after the founder of the Braille Institute, has been developed specifically to increase legibility for readers with low vision, and to improve comprehension.

+

Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements—and at times, unexpected forms—always with the goal of increasing character recognition and ultimately improve reading.

+

To contribute, see github.com/googlefonts/atkinson-hyperlegible.

+

From Rebranding to Readability with Atkinson Hyperlegible

Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability

@@ -7,4 +11,4 @@ 8, i, a with circle on top, e with two dots on top, question mark, and period
Atkinson Hyperlegible uses circular shapes to reference Braille dots.
-

To read more, visit From Rebranding to Readability with Atkinson Hyperlegible

+

To learn more, visit From Rebranding to Readability with Atkinson Hyperlegible.

diff --git a/ofl/bizudgothic/article/ARTICLE.en_us.html b/ofl/bizudgothic/article/ARTICLE.en_us.html index 2e446612ae..21401e06e3 100644 --- a/ofl/bizudgothic/article/ARTICLE.en_us.html +++ b/ofl/bizudgothic/article/ARTICLE.en_us.html @@ -1,3 +1,12 @@ +

+ モリサワのBIZ UDゴシックは、教育やビジネス文書作成などに活用できるよう、より多くの方にとって読みやすく使いやすいように設計されたユニバーサルデザインフォントです。読みやすさとデザインバランスに優れた、すっきりとしたUDゴシック書体で、漢字の省略できるハネやゲタを取ることで、文字をクリアに見せています。大きめな字面でも文字としてのかたちのバランスを損ねないよう、フトコロなどの空間を細かく調整しています。かなは漢字に比べてやや小ぶりに作られており、細いウエイトで長文を組むとほどよい抑揚が生まれます。 + BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms + are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use + in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights. +

+

UDGothic includes full-width kana. UDPGothic includes proportional-width kana.

+

To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-gothic

+

Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace

As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace.

diff --git a/ofl/bizudmincho/article/ARTICLE.en_us.html b/ofl/bizudmincho/article/ARTICLE.en_us.html index 2e446612ae..e68ffb7996 100644 --- a/ofl/bizudmincho/article/ARTICLE.en_us.html +++ b/ofl/bizudmincho/article/ARTICLE.en_us.html @@ -1,3 +1,13 @@ +

+ モリサワのBIZ UD明朝は、教育やビジネス文書作成などに活用できるよう、より多くの方にとって読みやすく使いやすいように設計されたユニバーサルデザインフォントです。格調高い明朝体の伝統を保ちながら、見やすさ、読みやすさを実現した書体です。一般的な明朝体は、横線が細くデザインされているため、視力が弱い方やディスプレイの表示などでは読みにくいことがあります。BIZ UD明朝は従来の明朝体よりも横線が太い明朝体をベースにしており、濁点や半濁点を大きく見やすいデザインに変更しているほか、字面やふところを大きくとりながらも文字のフォルムを崩さないデザインに調整しています。 + BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD + Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on + some displays or signs and for people with low vision. For the universal design version, dakuten (゛) and handakuten (゜) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger + face and wider counters. +

+

UD Mincho includes full-width kana. UDPMincho includes proportional-wdith kana.

+

To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-mincho

+

Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace

As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace.

diff --git a/ofl/bizudpgothic/article/ARTICLE.en_us.html b/ofl/bizudpgothic/article/ARTICLE.en_us.html index 2e446612ae..665eb3032a 100644 --- a/ofl/bizudpgothic/article/ARTICLE.en_us.html +++ b/ofl/bizudpgothic/article/ARTICLE.en_us.html @@ -1,3 +1,12 @@ +

+ モリサワのBIZ UDゴシックは、教育やビジネス文書作成などに活用できるよう、より多くの方にとって読みやすく使いやすいように設計されたユニバーサルデザインフォントです。読みやすさとデザインバランスに優れた、すっきりとしたUDゴシック書体で、漢字の省略できるハネやゲタを取ることで、文字をクリアに見せています。大きめな字面でも文字としてのかたちのバランスを損ねないよう、フトコロなどの空間を細かく調整しています。かなは漢字に比べてやや小ぶりに作られており、細いウエイトで長文を組むとほどよい抑揚が生まれます。 + BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms + are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use + in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights. +

+

UDGothic includes full-width kana. UDPGothic includes proportional-width kana.

+

To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-gothic

+

Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace

As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace.

diff --git a/ofl/bizudpmincho/article/ARTICLE.en_us.html b/ofl/bizudpmincho/article/ARTICLE.en_us.html index 2e446612ae..7ef1b9eb58 100644 --- a/ofl/bizudpmincho/article/ARTICLE.en_us.html +++ b/ofl/bizudpmincho/article/ARTICLE.en_us.html @@ -1,3 +1,13 @@ +

+ モリサワのBIZ UD明朝は、教育やビジネス文書作成などに活用できるよう、より多くの方にとって読みやすく使いやすいように設計されたユニバーサルデザインフォントです。格調高い明朝体の伝統を保ちながら、見やすさ、読みやすさを実現した書体です。一般的な明朝体は、横線が細くデザインされているため、視力が弱い方やディスプレイの表示などでは読みにくいことがあります。BIZ UD明朝は従来の明朝体よりも横線が太い明朝体をベースにしており、濁点や半濁点を大きく見やすいデザインに変更しているほか、字面やふところを大きくとりながらも文字のフォルムを崩さないデザインに調整しています。 + BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD + Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on + some displays or signs and for people with low vision. For the universal design version, dakuten (゛) and handakuten (゜) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger + face and wider counters. +

+

UDMincho includes full-width kana. UDPMincho includes proportional-width kana.

+

To contribute to the project, visit github.com/googlefonts/morisawa-biz-ud-mincho

+

Morisawa BIZ Universal Design (UD) Japanese fonts added to Google Fonts and Google Workspace

As part of our larger effort to make great type accessible in more languages, Google Fonts is pleased to announce that the Japanese type foundry Morisawa has made 2 BIZ Universal Design (UD) font families available on Google Fonts, under the SIL Open Font License. These Gothic and Mincho designs, available in regular and bold weights and proportional and full width styles, are now also available in Google Workspace.

diff --git a/ofl/brygada1918/article/ARTICLE.en_us.html b/ofl/brygada1918/article/ARTICLE.en_us.html index d5156b203f..beda8909b9 100644 --- a/ofl/brygada1918/article/ARTICLE.en_us.html +++ b/ofl/brygada1918/article/ARTICLE.en_us.html @@ -1,9 +1,11 @@ +

+ Brygada 1918 is a revival project created for the celebration of the 100 years of independance of the Republic of Poland in 2018, with the support of the "Independent" program and the President of the Republic of Poland. The typeface is based on the catalogue + entry of the National Type Foundry from 1954, and a set of matrices found at the Book Arts Museum by Janusz Tryzno in 2016. More information is available on the project's website and Google Design. +

+

To contribute, see github.com/kosmynkab/Brygada-1918.

+

Reviving a forgotten font: Type detectives give life to Brygada

Mysterious Polish font matrices spark interest in a lost and forgotten pre-World War II typeface

-
- 5 lines of text and numbers in blue and brown -
Brygada in Latin, Cyrillic, Greek scripts and numbers
-

A man uncovers an unused font in dusty piles of metal plates and blocks. He is intrigued by the mysterious letters “K” and “R” with curly legs, and a handwritten note on old brown paper that says “Brygada.” He starts an archeological quest to research the origins of the font–and inspires a team to revive the font with 21st century software and a microscopic camera.

Is this the plot line for a new “Indiana Jones” movie or the origin story for a remade digitized font?

It’s the latter. It’s the story of Brygada, a lost and forgotten 20th century typeface remade for the 21st century.

@@ -12,4 +14,4 @@
Handwritten note with “Brygada” name in Polish

It was the summer of 2015 and Mr. Janusz Tryzno was the owner of the Book Art Museum of Łódź located in a 19th century villa in Łódź (pronounced “Woodge”), Poland. He dug through piles of font matrices (metal blocks with letter shapes used to cast letters) and metal plates wrapped in brown paper from the Polish National Type Foundry. After uncovering the Brygada matrices, he asked museum volunteers, Przemysław Hoffer and Borys Kosmynka, to examine the matrices to see if they could bring the font back to life.

-

Read more: https://design.google/library/type-detectives-give-life-brygada-en/

+

To learn more about Brygada, visit: Reviving a forgotten font: Type detectives give life to Brygada(English), Rewitalizacja zapomnianej czcionki: nowe życie Brygady(Polish).

diff --git a/ofl/brygada1918/article/hero.png b/ofl/brygada1918/article/hero.png deleted file mode 100644 index 081107ba9f..0000000000 Binary files a/ofl/brygada1918/article/hero.png and /dev/null differ diff --git a/ofl/edunswactfoundation/article/ARTICLE.en_us.html b/ofl/edunswactfoundation/article/ARTICLE.en_us.html index 8ec49b1da0..7d5f9fc83f 100644 --- a/ofl/edunswactfoundation/article/ARTICLE.en_us.html +++ b/ofl/edunswactfoundation/article/ARTICLE.en_us.html @@ -1,3 +1,21 @@ +

The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment.

+

Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: +

    +
  1. The foundational stage involves learning basic letter formation.
    2. +
  2. The transitional stage adds joining ligatures to some letters.
    3. +
  3. The cursive stage joins almost all letters (with some exceptions).
    4. +
+

+

+ The NSW ACT School Fonts include both: +

    +
  • New South Wales Foundation Print - a simple sloped print for early primary school.
    • +
  • New South Wales Foundation Cursive - transitional joining letter alternates (pre-cursive stage).
    • +
+ Students in New South Wales and Australian Capital Territory learn Foundation Print from years 1 to 2 and Beginner Cursive from year 3. +

+

Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts.

+

The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace

Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website.

diff --git a/ofl/eduqldbeginner/article/ARTICLE.en_us.html b/ofl/eduqldbeginner/article/ARTICLE.en_us.html index 8ec49b1da0..e0c4d7491c 100644 --- a/ofl/eduqldbeginner/article/ARTICLE.en_us.html +++ b/ofl/eduqldbeginner/article/ARTICLE.en_us.html @@ -1,3 +1,21 @@ +

The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment.

+

Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: +

    +
  1. The foundational stage involves learning basic letter formation.
    2. +
  2. The transitional stage adds joining ligatures to some letters.
    3. +
  3. The cursive stage joins almost all letters (with some exceptions).
    4. +
+

+

+ The QLD School Fonts include both: +

    +
  • Queensland Beginners Alphabet - a simple sloped print for early primary school.
    • +
  • Queensland Beginners Cursive - transitional joining letter alternates (pre-cursive stage).
    • +
+ Students in Queensland learn QBeginners from years 1 to 3 and QCursive from year 4. +

+

Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts.

+

The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace

Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website.

diff --git a/ofl/edusabeginner/article/ARTICLE.en_us.html b/ofl/edusabeginner/article/ARTICLE.en_us.html index 8ec49b1da0..463fdffbea 100644 --- a/ofl/edusabeginner/article/ARTICLE.en_us.html +++ b/ofl/edusabeginner/article/ARTICLE.en_us.html @@ -1,3 +1,20 @@ +

The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment.

+

Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: +

    +
  1. The foundational stage involves learning basic letter formation.
    2. +
  2. The transitional stage adds joining ligatures to some letters.
    3. +
  3. The cursive stage joins almost all letters (with some exceptions).
    4. +
+

+

+ The SA School Fonts include: +

    +
  • South Australia Beginner Alphabet - a simple sloped print for early primary school.
    • +
+ Students in South Australia learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3. +

+

Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts.

+

The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace

Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website.

diff --git a/ofl/edutasbeginner/article/ARTICLE.en_us.html b/ofl/edutasbeginner/article/ARTICLE.en_us.html index 8ec49b1da0..7ef6c9d776 100644 --- a/ofl/edutasbeginner/article/ARTICLE.en_us.html +++ b/ofl/edutasbeginner/article/ARTICLE.en_us.html @@ -1,3 +1,20 @@ +

The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment.

+

Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: +

    +
  1. The foundational stage involves learning basic letter formation.
    2. +
  2. The transitional stage adds joining ligatures to some letters.
    3. +
  3. The cursive stage joins almost all letters (with some exceptions).
    4. +
+

+

+ The TAS School Fonts include: +

    +
  • Tasmania Beginners Alphabet - a simple sloped print for early primary school.
    • +
+ Students in Tasmania learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3. +

+

Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts.

+

The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace

Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website.

diff --git a/ofl/eduvicwantbeginner/article/ARTICLE.en_us.html b/ofl/eduvicwantbeginner/article/ARTICLE.en_us.html index 8ec49b1da0..2e9b3caef6 100644 --- a/ofl/eduvicwantbeginner/article/ARTICLE.en_us.html +++ b/ofl/eduvicwantbeginner/article/ARTICLE.en_us.html @@ -1,3 +1,20 @@ +

The Foundation Fonts for Australian Schools collection is a set of handwriting fonts designed specifically to meet Australian Education standards. While weights, widths and optical sizes were carefully crafted to work well in an Australian classroom environment, they are just as comfortable to read and work with in the home environment.

+

Each Australian state teaches different handwriting styles in lower primary school (although some states do share the same style). There are essentially three stages involved with each state's styles: +

    +
  1. The foundational stage involves learning basic letter formation.
    2. +
  2. The transitional stage adds joining ligatures to some letters.
    3. +
  3. The cursive stage joins almost all letters (with some exceptions).
    4. +
+

+

+ The VIC WA NT School Fonts include: +

    +
  • Victoria, Western Australia and Northern Territory Label Print Alphabet - a simple sloped print for early primary school.
    • +
+ Students in Victoria, Western Australia and Northern Territory learn Label Print from years 1 to 3 and Infant Cursive from year 4. +

+

Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. To download the full version, or to contribute, see github.com/MezMerrit/AU-School-Handwriting-Fonts.

+

The handwriting fonts that help Australian students learn how to read and write are now available in Google Workspace

Google for Education Australia and Google Fonts partnered to make Foundation Fonts for Australian Schools available on Google Workspace, including Google Workspace for Education. The fonts are also available for download from the Google Fonts website.

diff --git a/ofl/expletussans/article/ARTICLE.en_us.html b/ofl/expletussans/article/ARTICLE.en_us.html index 6f4df075d2..daec394df0 100644 --- a/ofl/expletussans/article/ARTICLE.en_us.html +++ b/ofl/expletussans/article/ARTICLE.en_us.html @@ -1,3 +1,10 @@ +

+ Expletus Sans is a display typeface, which means that it is not recommended for long pieces of text. However, it's very effective for setting headers and other large sized text, due to it's way of pulling in the reader. It comes in 4 weights and will + include italics from May 2011. +

+

Expletus Sans has been upgraded to a variable font in November 2021. Line spacing has also been adjusted to improve user experience.

+

To contribute, see github.com/googlefonts/Expletus-Sans.

+

Jasper de Waard, born in 1996, first came in contact with the beauty of type design when he was 10, and developed his skills as a type and graphic designer ever since. He was born and raised in Rotterdam, the Netherlands, and went to a bilingual high school there, training him to read and write English fluently and have a more international focus. He is currently in his third year, three years before his exam. He hopes to continue his practices in the fields of type and graphic design after he finishes school and release many more typefaces in the future.

His love for the tiny details, balance in proportions and urge for perfection made him into what he is today. However, the great support and feedback from people on several forums can't be denied as a great source of inspiration and evaluation material, giving him a greater understanding of the method behind type design. He is also available for custom type work and identity design.

-

To read more, visit Introducing Expletus Sans.

+

To learn more, visit Introducing Expletus Sans.

diff --git a/ofl/flowblock/article/ARTICLE.en_us.html b/ofl/flowblock/article/ARTICLE.en_us.html index 98ba1b3fd1..a7a44659ca 100644 --- a/ofl/flowblock/article/ARTICLE.en_us.html +++ b/ofl/flowblock/article/ARTICLE.en_us.html @@ -1,6 +1,12 @@ +

Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections.

+

Flow comes in three styles: Circular, Rounded and Block.

+

Check out danross.co/flow/.

+

To contribute, see github.com/HYPD/flow-typeface.

+
+

Flow and Redacted: Check out these new options for wireframes and other early-stage designs

Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross’s Flow Fonts and Christian Naths’s Redacted.

Showing text in an early-stage wireframe can be distracting, even if it’s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey “this is text” without showing text?

One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.)

Another technique is to use handwritten scribbles. This creates a sketch-like look that’s especially suited to quick concepting.

-

To read more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs

+

To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs

diff --git a/ofl/flowcircular/article/ARTICLE.en_us.html b/ofl/flowcircular/article/ARTICLE.en_us.html index 98ba1b3fd1..dbc6ea2db4 100644 --- a/ofl/flowcircular/article/ARTICLE.en_us.html +++ b/ofl/flowcircular/article/ARTICLE.en_us.html @@ -1,6 +1,20 @@ +

+ Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. +

+

+ Flow comes in three styles: Circular Rounded and Block. +

+

+ Check out danross.co/flow/. +

+

+ To contribute, see github.com/HYPD/flow-typeface. +

+
+

Flow and Redacted: Check out these new options for wireframes and other early-stage designs

Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross’s Flow Fonts and Christian Naths’s Redacted.

Showing text in an early-stage wireframe can be distracting, even if it’s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey “this is text” without showing text?

One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.)

Another technique is to use handwritten scribbles. This creates a sketch-like look that’s especially suited to quick concepting.

-

To read more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs

+

To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs

diff --git a/ofl/flowrounded/article/ARTICLE.en_us.html b/ofl/flowrounded/article/ARTICLE.en_us.html index 98ba1b3fd1..e035717f85 100644 --- a/ofl/flowrounded/article/ARTICLE.en_us.html +++ b/ofl/flowrounded/article/ARTICLE.en_us.html @@ -1,6 +1,20 @@ +

+ Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections. +

+

+ Flow comes in three styles: Circular, Rounded and Block. +

+

+ Check out danross.co/flow/. +

+

+ To contribute, see github.com/HYPD/flow-typeface. +

+
+

Flow and Redacted: Check out these new options for wireframes and other early-stage designs

Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross’s Flow Fonts and Christian Naths’s Redacted.

Showing text in an early-stage wireframe can be distracting, even if it’s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey “this is text” without showing text?

One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.)

Another technique is to use handwritten scribbles. This creates a sketch-like look that’s especially suited to quick concepting.

-

To read more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs

+

To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs

diff --git a/ofl/fraunces/article/ARTICLE.en_us.html b/ofl/fraunces/article/ARTICLE.en_us.html index 52a0b25dc6..1a427aba09 100644 --- a/ofl/fraunces/article/ARTICLE.en_us.html +++ b/ofl/fraunces/article/ARTICLE.en_us.html @@ -1,3 +1,15 @@ +

+ Fraunces is a display, "Old Style" soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as Windsor, Souvenir, and the Cooper Series. Fraunces was designed by Phaedra + Charles and Flavia Zimbardi, partners at Undercase Type. +

+

+ Fraunces is a Variable Font with four axes: Weight (wght), Optical Size (opsz), Softness (SOFT), and Wonky (WONK). The Softness axis controls the “wetness” or “inkiness” of the typeface. The Wonky axis controls the manual substitution of “wonky” characters, + such as the lean of the h, n, and m glyphs in the Roman, and the flagged ball terminals of the b, d, h, k, l, v, and w glyphs of the Italic. +

+

+ To contribute, please see github.com/undercasetype/Fraunces. +

+

Wonky, goofy, playful, elegant and a workhorse: Meet a new breed of “Old Style” typeface

Fraunces is a variable font that offers a variety of styles for text and display typography.

diff --git a/ofl/lexend/article/ARTICLE.en_us.html b/ofl/lexend/article/ARTICLE.en_us.html index 17d006161e..d57858c026 100644 --- a/ofl/lexend/article/ARTICLE.en_us.html +++ b/ofl/lexend/article/ARTICLE.en_us.html @@ -1,3 +1,27 @@ +

+ Lexend fonts are intended to reduce visual stress and so improve reading performance. Initially they were designed with dyslexia and struggling readers in mind, but Bonnie Shaver-Troup, creator of the Lexend project, soon found out that these fonts are + also great for everyone else. +

+

+ The first set of Lexend fonts by Thomas Jockin ( + Deca, + Exa, + Giga, + Mega, + Peta, + Tera, + Zetta) becomes wider and more openly spaced (also known as "tracked out"). This new version of Lexend is a variable font with a weight axis. +

+

+ Please note that the initial release of this font had a lighter Regular weight. It has been decided for the update of July 2021 to align the Regular weight with the one of Lexend Deca which is slightly bolder. Lexend and Lexend Deca are therefore the + same (for now…). Ultimately this version will offer a HyperExpansion axis which will allow variation of inner and outer space of letterforms.

+

+ True to Bonnie’s vision, Lexend fonts are freely available for all since 2019 in Google Fonts. +

+

+ To contribute, see github.com/googlefonts/lexend. For more information, see lexend.com. +

+

Clean and clear: making reading easier with Lexend

A key factor in reading problems might be hiding in plain sight. Learn how changing fonts can change comprehension.

diff --git a/ofl/questrial/article/ARTICLE.en_us.html b/ofl/questrial/article/ARTICLE.en_us.html index de7c44ddbe..c9f90b4b83 100644 --- a/ofl/questrial/article/ARTICLE.en_us.html +++ b/ofl/questrial/article/ARTICLE.en_us.html @@ -1,3 +1,19 @@ +

+ Questrial is the perfect font for body text and headlines on a website. + It's modern style, suited with past characteristics of great typefaces, make it highly readable in any context. + The full-circle curves on many characters make Questrial a great font to blend seamlessly with other fonts while still maintaining it's uniqueness. +

+

+ It is heavily influenced by Swiss design, similar to a grotesk style which is closely found in Helvetica. + The numbers in Questrial are tabular figures so they can be used in tables and forms to enable maximum satisfaction. +

+

+ Questrial language support includes African Latin and full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. +

+

+ To contribute see github.com/googlefonts/questrial +

+

Giving African languages more Latin font choices

Questrial font provides pan-African Latin support

diff --git a/ofl/radiocanada/article/ARTICLE.en_us.html b/ofl/radiocanada/article/ARTICLE.en_us.html index 4e0dc9f0e0..aad1ba3c43 100644 --- a/ofl/radiocanada/article/ARTICLE.en_us.html +++ b/ofl/radiocanada/article/ARTICLE.en_us.html @@ -1,3 +1,21 @@ +

+ CBC/Radio-Canada is Canada's national public broadcaster. Their mandate is to inform, enlighten and entertain, in order to strengthen Canadian culture on radio, television and digital platforms. +

+

+ The Radio-Canada font was created in 2017 by Montreal-based designer and typographer Charles Daoud, in collaboration with Coppers and Brasses and Alexandre Saumier Demers. It was designed specifically for CBC/Radio-Canada as a brand unifying information + font for all the Public Broadcaster’s platforms. Fittingly, for a Public Broadcaster, this is a peoples’ font and the humanistic style stands out with distinctive angles and subtle curves. Its x-height ensures excellent legibility and respects digital + accessibility standards, making it very effective when used in continuous text. +

+

+ In 2018, the Radio-Canada font won three awards, in the Font Design category at Communication Arts Typography, Applied Arts Design Annual and at Grand Prix Grafika. +

+

+ Several optimizations saw the light of day in 2021. The number of supported languages has increased from 106 to 317 Latin languages. In 2022, Jacques Le Bailly (Baron von Fonthausen) expanded the font to include the support of Indigenous languages +

+

+ To contribute, see github.com/cbcrc/radiocanadafonts. +

+

You can now use Radio-Canada’s brand typeface: The award-winning variable font comes to Google Fonts

A typeface made to give a specific identity and distinction to the Canadian Broadcasting Corporation (CBC) and Radio-Canada’s public broadcasting platforms is now available on Google Fonts in many languages using the Latin writing system, including many indigenous languages spoken in Canada.

diff --git a/ofl/redacted/article/ARTICLE.en_us.html b/ofl/redacted/article/ARTICLE.en_us.html index 98ba1b3fd1..cf8f7c7e3b 100644 --- a/ofl/redacted/article/ARTICLE.en_us.html +++ b/ofl/redacted/article/ARTICLE.en_us.html @@ -1,6 +1,14 @@ +

+ Redacted and Redacted Script are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text. +

+

+ To contribute, see github.com/christiannaths/redacted-font. +

+
+

Flow and Redacted: Check out these new options for wireframes and other early-stage designs

Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross’s Flow Fonts and Christian Naths’s Redacted.

Showing text in an early-stage wireframe can be distracting, even if it’s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey “this is text” without showing text?

One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.)

Another technique is to use handwritten scribbles. This creates a sketch-like look that’s especially suited to quick concepting.

-

To read more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs

+

To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs

diff --git a/ofl/redactedscript/article/ARTICLE.en_us.html b/ofl/redactedscript/article/ARTICLE.en_us.html index 98ba1b3fd1..c2ce795d8a 100644 --- a/ofl/redactedscript/article/ARTICLE.en_us.html +++ b/ofl/redactedscript/article/ARTICLE.en_us.html @@ -1,6 +1,14 @@ +

+ Redacted and Redacted Script are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text. +

+

+ To contribute, see github.com/christiannaths/redacted-font. +

+
+

Flow and Redacted: Check out these new options for wireframes and other early-stage designs

Give your simulated text a realistic look while making it easy to add copy later on with Dan Ross’s Flow Fonts and Christian Naths’s Redacted.

Showing text in an early-stage wireframe can be distracting, even if it’s just Lorem ipsum placeholder copy. After all, a successful wireframe is clean and simple, with just enough information to communicate an idea. But how do you convey “this is text” without showing text?

One popular technique is to draw shapes that resemble a block of redacted text. (Redacted text is usually used as a security or privacy measure in a document to make certain words unreadable.)

Another technique is to use handwritten scribbles. This creates a sketch-like look that’s especially suited to quick concepting.

-

To read more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs

+

To learn more, visit Flow and Redacted: Check out these new options for wireframes and other early-stage designs

diff --git a/ofl/robotoflex/article/ARTICLE.en_us.html b/ofl/robotoflex/article/ARTICLE.en_us.html index 12392e9fb6..58f08bdcda 100644 --- a/ofl/robotoflex/article/ARTICLE.en_us.html +++ b/ofl/robotoflex/article/ARTICLE.en_us.html @@ -1,4 +1,30 @@ - +

+ Roboto Flex upgrades Roboto so it becomes a more powerful typeface system. With Flex, you can customize Roboto to express and finesse your text in ways never before possible. Today, people are constantly switching between devices, resizing browsers, and + spreading our viewports across multiple screens. So Google commissioned Font Bureau to re-imagine Roboto to “flex” along with us, with a special emphasis on large-screen capabilities. This was achieved by amplifying the original design to an extreme + range of weights, grades, widths and optical sizes. +

+

+ The second benefit of Roboto Flex is the designer’s ability to fitness and fine-tune their designs with parametric axes. Font Bureau first demonstrated the concept of parametric + axes in Amstelvar Alpha (2017), to provide the ultimate in typographic flexibility. With early prototypes of Roboto Flex, Font Bureau demonstrated new solutions to the typographic problems + that digital designers face. Demonstrations of high quality justification, better dark-mode typography and other uses of parametric axes are documented at variablefonts.typenetwork.com +

+

+ The needs of developers, designers, and — of course — end-user readers were prioritized and aligned during development. To make Roboto Flex production-ready for all print and digital media, Font Bureau expanded the glyph set with careful planning and + development, in partnership with script experts for Cyrillic and Greek. Rigorous testing of each glyph across every axis required new type design tools to be developed, like typetools and videoproof, + which can be used to explore the depth of the design. +

+

+ The final file size of the complete package is remarkably small, given the range of expressive styles now available. By driving variable fonts technology to its limits, it offers the most interesting and useful typographic tools for end users and designers. + With a fully loaded Optical Size axis, Roboto Flex makes the layout of texts with deep hierarchies more straightforward and heightens the quality of every design that uses it. +

+

+ And none of this would be possible without the long list of contributors involved. Special thanks to David Berlow, Santiago Orozco, Ilya Ruderman, Irene Vlachou, Yury Ostromentsky, Mikhail Strukov, Dave Crossland, Damien Correll, Marc Foley, David Jonathan + Ross, Chris Lewis, Eben Sorkin, Viktoriya Grabowska, Adam Twardoch, Roel Nieksens, Laurence Penney, and Thomas Linard. +

+

+ Roboto Flex is developed by Font Bureau for Google, based on the design initiated by Christian Robertson. To contribute, see github.com/googlefonts/roboto-flex +

+

Google’s most popular font gets customizable with the launch of Roboto Flex

Get it on Google Fonts.

diff --git a/ofl/robotoserif/article/ARTICLE.en_us.html b/ofl/robotoserif/article/ARTICLE.en_us.html index 93f2c54d87..e211e43227 100644 --- a/ofl/robotoserif/article/ARTICLE.en_us.html +++ b/ofl/robotoserif/article/ARTICLE.en_us.html @@ -1,3 +1,11 @@ +

+ Roboto Serif is a variable typeface family designed to create a comfortable and frictionless reading experience. Minimal and highly functional, it is useful anywhere (even for app interfaces) due to the extensive set of weights and widths across a broad + range of optical sizes. While it was carefully crafted to work well in digital media, across the full scope of sizes and resolutions we have today, it is just as comfortable to read and work in print media. +

+

+ To contribute, see github.com/googlefonts/roboto-serif. +

+

Say hello to Roboto Serif

The newest member of the Roboto superfamily is designed to make reading more comfortable at any size, in any format.

diff --git a/ofl/spacemono/article/ARTICLE.en_us.html b/ofl/spacemono/article/ARTICLE.en_us.html index f773323a61..5e9f32c779 100644 --- a/ofl/spacemono/article/ARTICLE.en_us.html +++ b/ofl/spacemono/article/ARTICLE.en_us.html @@ -1,3 +1,21 @@ +

+ Space Mono is an original fixed-width type family designed by Colophon Foundry for Google Design. It supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. +

+

+ Developed for editorial use in headline and display typography, the letterforms infuse a geometric foundation and grotesque details with qualities often found in headline typefaces of the 1960s (See: Microgramma, + Eurostile), many of which have since been co-opted by science fiction films, television, and literature. +

+

+ Typographic features include old-style figures, superscript and subscript numerals, fractions, center-height and cap-height currency symbols, directional arrows, and multiple stylistic alternates. +

+

+ Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is complemented by work + in editorial design, publishing, curation, and pedagogy. Visit colophon-foundry.org +

+

+ To contribute ideas and feedback, see github.com/googlefonts/spacemono +

+

Introducing Space Mono a monospaced typeface by Colophon Foundry for Google Fonts.

As designers of type, we most often find ourselves composing a monospaced (sometimes called a fixed-width, fixed-pitch, or non-proportional) typeface in the service of building out the styles of an accompanying proportional type family or type system. It’s about adapting the proportional type’s forms and rules, and discovering how those letterforms behave within fixed limits to give the face new texture and capability. But what if that constraint was embraced? What if we set out to create a monospaced typeface that wasn’t simply an extension, but rather something unto itself?

diff --git a/ofl/spectral/article/ARTICLE.en_us.html b/ofl/spectral/article/ARTICLE.en_us.html index 5972bb0538..1160f82082 100644 --- a/ofl/spectral/article/ARTICLE.en_us.html +++ b/ofl/spectral/article/ARTICLE.en_us.html @@ -1,3 +1,6 @@ +

Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Spectral offers an efficient, beautiful design that’s intended primarily for text-rich, screen-first environments and long-form reading.

+

Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects. To contribute, see github.com/productiontype/spectral

+

Spectral: A New Screen-First Typeface

Production Type introduces their latest commission for Google Fonts

diff --git a/ofl/tirobangla/article/ARTICLE.en_us.html b/ofl/tirobangla/article/ARTICLE.en_us.html index c419231667..d771f1deed 100644 --- a/ofl/tirobangla/article/ARTICLE.en_us.html +++ b/ofl/tirobangla/article/ARTICLE.en_us.html @@ -1,3 +1,11 @@ +

+ Tiro Bangla has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design + follows manuscript traditions of letterform construction, and was inspired by the proportions and overall texture of handset metal type used by leading Kolkata publishing houses in pre-mechanical typography. For the Open Font License release, Tiro + Bangla has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. +

+

Tiro Bangla was designed by John Hudson and Fiona Ross. The italic was adapted by Neelakash Kshetrimayum.

+

To contribute, see github.com/TiroTypeworks/Indigo.

+

Modern Tiro Indic collection for classical South Asian texts

The beauty and challenges of bridging the old and the new

diff --git a/ofl/tirodevanagarihindi/article/ARTICLE.en_us.html b/ofl/tirodevanagarihindi/article/ARTICLE.en_us.html index c419231667..2d3e7be707 100644 --- a/ofl/tirodevanagarihindi/article/ARTICLE.en_us.html +++ b/ofl/tirodevanagarihindi/article/ARTICLE.en_us.html @@ -1,3 +1,12 @@ +

+ Tiro Devanagari Hindi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. + The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, + and strong diagonal strokes and terminals. The Hindi font balances traditional and modern forms of conjuncts. For the Open Font License release, Tiro Devanagari Hindi has been extended to support additional characters, and features a new italic companion. + Each font also includes a Latin subset including diacritics for transcription of Indian languages. +

+

Tiro Devanagari Hindi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow.

+

To contribute, see github.com/TiroTypeworks/Indigo.

+

Modern Tiro Indic collection for classical South Asian texts

The beauty and challenges of bridging the old and the new

diff --git a/ofl/tirodevanagarimarathi/article/ARTICLE.en_us.html b/ofl/tirodevanagarimarathi/article/ARTICLE.en_us.html index c419231667..19eb369493 100644 --- a/ofl/tirodevanagarimarathi/article/ARTICLE.en_us.html +++ b/ofl/tirodevanagarimarathi/article/ARTICLE.en_us.html @@ -1,3 +1,12 @@ +

+ Tiro Devanagari Marathi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in + mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, + and strong diagonal strokes and terminals. The Marathi font favours traditional, vertical forms of many conjuncts as still found in Marathi literary publishing. For the Open Font License release, Tiro Devanagari Marathi has been extended to support + additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. +

+

Tiro Devanagari Marathi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow.

+

To contribute, see github.com/TiroTypeworks/Indigo.

+

Modern Tiro Indic collection for classical South Asian texts

The beauty and challenges of bridging the old and the new

diff --git a/ofl/tirodevanagarisanskrit/article/ARTICLE.en_us.html b/ofl/tirodevanagarisanskrit/article/ARTICLE.en_us.html index c419231667..ac95007964 100644 --- a/ofl/tirodevanagarisanskrit/article/ARTICLE.en_us.html +++ b/ofl/tirodevanagarisanskrit/article/ARTICLE.en_us.html @@ -1,3 +1,16 @@ +

+ Tiro Devanagari Sanskrit has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in + mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, + and strong diagonal strokes and terminals. The Sanskrit font favours traditional forms of conjuncts. For the Open Font License release, Tiro Devanagari Sanskrit has been extended to support additional characters, including signs for Vedic texts, and + features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. +

+

+ Tiro Devanagari Sanskrit was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. +

+

+ To contribute, see github.com/TiroTypeworks/Indigo. +

+

Modern Tiro Indic collection for classical South Asian texts

The beauty and challenges of bridging the old and the new

diff --git a/ofl/tirogurmukhi/article/ARTICLE.en_us.html b/ofl/tirogurmukhi/article/ARTICLE.en_us.html index c419231667..c94426cb49 100644 --- a/ofl/tirogurmukhi/article/ARTICLE.en_us.html +++ b/ofl/tirogurmukhi/article/ARTICLE.en_us.html @@ -1,3 +1,16 @@ +

+ Tiro Gurmukhi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The + design reintroduces the stroke modulation of traditional Punjabi manuscript styles that is absent from the monolinear typefaces that became conventional for the script in the 20th Century. This gives Tiro Gurmukhi a strong traditional flavour while + also something fresh in the context of modern typography. For the Open Font License release, Tiro Gurmukhi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics + for transcription of Indian languages. +

+

+ Tiro Gurmukhi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow. +

+

+ To contribute, see github.com/TiroTypeworks/Indigo. +

+

Modern Tiro Indic collection for classical South Asian texts

The beauty and challenges of bridging the old and the new

diff --git a/ofl/tirokannada/article/ARTICLE.en_us.html b/ofl/tirokannada/article/ARTICLE.en_us.html index c419231667..663bf2fd8f 100644 --- a/ofl/tirokannada/article/ARTICLE.en_us.html +++ b/ofl/tirokannada/article/ARTICLE.en_us.html @@ -1,3 +1,16 @@ +

+ Tiro Kannada has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design + takes inspiration from several sources: the crisp, open counters of the 19th Century types of the renowned Basel Mission Press; the styling of ligatures in types of the Gujarat Type Foundry from the 1930s; and the dynamic stroke angles of unattributed + types found in a 20th Century Kannada textbook. Tiro Kannada features generously proportioned subscript letters for enhanced legibility. For the Open Font License release, Tiro Kannada has been extended to support additional characters, and features + a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. +

+

+ Tiro Kannada was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja Słojewska. +

+

+ To contribute, see github.com/TiroTypeworks/Indigo. +

+

Modern Tiro Indic collection for classical South Asian texts

The beauty and challenges of bridging the old and the new

diff --git a/ofl/tirotamil/article/ARTICLE.en_us.html b/ofl/tirotamil/article/ARTICLE.en_us.html index c419231667..a43ddcf269 100644 --- a/ofl/tirotamil/article/ARTICLE.en_us.html +++ b/ofl/tirotamil/article/ARTICLE.en_us.html @@ -1,3 +1,16 @@ +

+ Tiro Tamil has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design + takes inspiration from Tamil metal types developed in Madras (Chennai) in the 19th and early 20th Century, which were influenced by both traditional palm leaf manuscripts and contemporary writing. The stroke modulation makes for a dynamic design for + modern typography, while traditional forms of ligatures are accessible via OpenType Layout features. For the Open Font License release, Tiro Tamil has been extended to support additional characters, and features a new italic companion suitable for + traditional slanted Tamil typography. Each font also includes a Latin subset including diacritics for transcription of Indian languages. +

+

+ Tiro Kannada was designed by Fernando Mello and Fiona Ross. The italic was adapted by Kaja Słojewska. +

+

+ To contribute, see github.com/TiroTypeworks/Indigo. +

+

Modern Tiro Indic collection for classical South Asian texts

The beauty and challenges of bridging the old and the new

diff --git a/ofl/tirotelugu/article/ARTICLE.en_us.html b/ofl/tirotelugu/article/ARTICLE.en_us.html index c419231667..2a30544a05 100644 --- a/ofl/tirotelugu/article/ARTICLE.en_us.html +++ b/ofl/tirotelugu/article/ARTICLE.en_us.html @@ -1,3 +1,16 @@ +

+ Tiro Telugu has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design + combines the proportions of Telugu manuscript tradition, notably in the generous proportions of subscript letters to aid legibility with the pronounced stroke modulation and shaping of counters and finials inspired by the elegant metal types of the + Swatantra Type Foundry. Tiro Telugu uses extensive contextual layout behaviour to support arbitrary conjuncts, making it suitable for Sanskrit and Pali as well as Telugu language texts. For the Open Font License release, Tiro Telugu has been extended + to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages. +

+

+ Tiro Telugu was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja Słojewska. +

+

+ To contribute, see github.com/TiroTypeworks/Indigo. +

+

Modern Tiro Indic collection for classical South Asian texts

The beauty and challenges of bridging the old and the new

diff --git a/ofl/urbanist/article/ARTICLE.en_us.html b/ofl/urbanist/article/ARTICLE.en_us.html index f82514b821..503f21efe9 100644 --- a/ofl/urbanist/article/ARTICLE.en_us.html +++ b/ofl/urbanist/article/ARTICLE.en_us.html @@ -1,7 +1,13 @@ +

+ Urbanist is a low-contrast, geometric sans-serif inspired by Modernist typography and design. The project was launched by Corey Hu in 2020 with 9 weights and accompanying italics. Conceived from elementary shapes, Urbanist's neutrality makes it a versatile + display font for print and digital mediums. It is currently available as a variable font with a weight axis. +

+

+ To contribute, see github.com/coreyhu/Urbanist. +

+

New font family: Urbanist by Corey Hu

Urbanist is a low-contrast, geometric sans-serif inspired by Modernist typography and design. The project was launched by Corey Hu in 2020 with 9 weights and accompanying italics. Conceived from elementary shapes, Urbanist's neutrality makes it a versatile display font for print and digital mediums.

It is currently available as a variable font with a weight axis: https://fonts.google.com/specimen/Urbanist

To learn more, read New font family: Urbanist by Corey Hu.

- - diff --git a/ofl/zenantique/article/ARTICLE.en_us.html b/ofl/zenantique/article/ARTICLE.en_us.html index 90cd4692d9..efb6396ce8 100644 --- a/ofl/zenantique/article/ARTICLE.en_us.html +++ b/ofl/zenantique/article/ARTICLE.en_us.html @@ -1,3 +1,19 @@ +

+ Zen Antique features two kinds of Antique Japanese with Kanji. The impression of the weights (thickness) of strokes are different among characters—Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which + gives the unique rhythm and taste in this font. + Zen Antique Soft has a slightly rounded effect on the corners. +

+

+ To contribute to the project, visit github.com/googlefonts/zen-antique +

+

+ Zen Antique には、古風な雰囲気の二種類の漢字を含む日本語書体があります。 文字によって画線の太さに変化があり、ひらがなと欧文は細め、カタカナと漢字は太めで、フォントに独特のリズムと味わいを与えています。 また、 + Zen Antique Soft では、角が少し丸くなっています。 +

+

+ このプロジェクトに参加して貢献したい方は、次の URL をご参照ください。github.com/googlefonts/zen-antique +

+

Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts

In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles – from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project.

diff --git a/ofl/zenantiquesoft/article/ARTICLE.en_us.html b/ofl/zenantiquesoft/article/ARTICLE.en_us.html index 90cd4692d9..b79ee5ba12 100644 --- a/ofl/zenantiquesoft/article/ARTICLE.en_us.html +++ b/ofl/zenantiquesoft/article/ARTICLE.en_us.html @@ -1,3 +1,17 @@ +

+ Zen Antique features two kinds of Antique Japanese with Kanji. The impression of the weights (thickness) of strokes are different among characters—Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which + gives the unique rhythm and taste in this font. This is Zen Antique Soft, a version of Zen Antique with a slightly rounded effect on the corners. +

+

+ To contribute to the project, visit github.com/googlefonts/zen-antique +

+

+ Zen Antique には、古風な雰囲気の二種類の漢字を含む日本語書体があります。 文字によって画線の太さに変化があり、ひらがなと欧文は細め、カタカナと漢字は太めで、フォントに独特のリズムと味わいを与えています。 また、Zen Antique Soft では、角が少し丸くなっています。 +

+

+ このプロジェクトに参加して貢献したい方は、次の URL をご参照ください。github.com/googlefonts/zen-antique +

+

Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts

In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles – from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project.

diff --git a/ofl/zendots/article/ARTICLE.en_us.html b/ofl/zendots/article/ARTICLE.en_us.html index 90cd4692d9..7242742092 100644 --- a/ofl/zendots/article/ARTICLE.en_us.html +++ b/ofl/zendots/article/ARTICLE.en_us.html @@ -1,3 +1,7 @@ +

Zen Dots Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of the Zen Fonts collection.

+

Zen Dots was designed with a futuristic vision and inspired by the different eras in science fiction films.

+

To contribute, see github.com/googlefonts/zen-dots.

+

Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts

In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles – from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project.

diff --git a/ofl/zenkakugothicantique/article/ARTICLE.en_us.html b/ofl/zenkakugothicantique/article/ARTICLE.en_us.html index 90cd4692d9..adf42cd863 100644 --- a/ofl/zenkakugothicantique/article/ARTICLE.en_us.html +++ b/ofl/zenkakugothicantique/article/ARTICLE.en_us.html @@ -1,3 +1,23 @@ +

+ Zen Kaku Gothic New is a contemporary Japanese gothic (san serif) typeface family. With this font, you can express fine typesetting without any professional detailed arrangements. + Because of the unique yet simple design, it gives naturally high legibility. Easy to use and read. +

+

+ Zen Kaku Gothic Antique is a classical yet simple and stylish version. Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even captions. +

+

+ To contribute to the project, visit github.com/googlefonts/zen-kakugothic +

+

+ Zen Kaku Gothic New はベーシックな日本語のサンセリフ(ゴシック体)ファミリーです。 この書体を用いれば、特に専門家のような細かい作業をしなくても、高品位な文字組を実現することができます。 独自のシンプルなデザインが自然な読みやすさをもたらします。 使いやすく読みやすい書体です。 +

+

+ Zen Kaku Gothic Antique は古典的で、しかもシンプルで洒落たサンセリフ書体のファミリーです。 文字のデザインがオーソドックスで、きわめて判読しやすい書体です。 タイトルから本文、キャプションまで、さまざまな用途で効果的にご利用いただけます。 +

+

+ このプロジェクトに参加して貢献したい方は、次の URL をご参照ください github.com/googlefonts/zen-kakugothic +

+

Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts

In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles – from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project.

diff --git a/ofl/zenkakugothicnew/article/ARTICLE.en_us.html b/ofl/zenkakugothicnew/article/ARTICLE.en_us.html index 90cd4692d9..6564f03cc5 100644 --- a/ofl/zenkakugothicnew/article/ARTICLE.en_us.html +++ b/ofl/zenkakugothicnew/article/ARTICLE.en_us.html @@ -1,3 +1,24 @@ +

+ Zen Kaku Gothic New is a contemporary Japanese gothic (san serif) typeface family. With this font, you can express fine typesetting without any professional detailed arrangements. Because of the unique yet simple design, it gives naturally high legibility. + Easy to use and read. +

+

+ Zen Kaku Gothic Antique is a classical yet simple and stylish version. Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even + captions. +

+

+ To contribute to the project, visit github.com/googlefonts/zen-kakugothic +

+

+ Zen Kaku Gothic New はベーシックな日本語のサンセリフ(ゴシック体)ファミリーです。 この書体を用いれば、特に専門家のような細かい作業をしなくても、高品位な文字組を実現することができます。 独自のシンプルなデザインが自然な読みやすさをもたらします。 使いやすく読みやすい書体です。 +

+

+ Zen Kaku Gothic Antique は古典的で、しかもシンプルで洒落たサンセリフ書体のファミリーです。 文字のデザインがオーソドックスで、きわめて判読しやすい書体です。 タイトルから本文、キャプションまで、さまざまな用途で効果的にご利用いただけます。 +

+

+ このプロジェクトに参加して貢献したい方は、次の URL をご参照ください github.com/googlefonts/zen-kakugothic +

+

Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts

In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles – from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project.

diff --git a/ofl/zenkurenaido/article/ARTICLE.en_us.html b/ofl/zenkurenaido/article/ARTICLE.en_us.html index 90cd4692d9..c9e50e1861 100644 --- a/ofl/zenkurenaido/article/ARTICLE.en_us.html +++ b/ofl/zenkurenaido/article/ARTICLE.en_us.html @@ -1,3 +1,16 @@ +

+ Zen Kurenaido is a Japanese font with a handwritten feeling. The brush-like elements are omitted from the design, leaving only the bones of the letter, resulting in an impression of ballpoint handwriting. +

+

+ To contribute to the project, visit github.com/googlefonts/zen-kurenaido +

+

+ Zen Kurenaido は手書きの持ち味を活かした新しい日本語書体のデザインです 毛筆的な要素が取り除かれ、文字の骨格だけが残されているので、ボールペンで書いたような印象を与えるフォントです。 +

+

+ このプロジェクトに参加して貢献したい方は、次の URL をご参照ください github.com/googlefonts/zen-kurenaido。 +

+

Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts

In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles – from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project.

diff --git a/ofl/zenloop/article/ARTICLE.en_us.html b/ofl/zenloop/article/ARTICLE.en_us.html index 90cd4692d9..d4aeea36c1 100644 --- a/ofl/zenloop/article/ARTICLE.en_us.html +++ b/ofl/zenloop/article/ARTICLE.en_us.html @@ -1,3 +1,11 @@ +

Zen Loop Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of Zen Fonts collection.

+

+ Japanese kana characters contain many loops. + Zen Loop and Zen Loop Italic incorporates this visual aspect into a Latin font. + The font looks as though it was shaped out of a thin wire, and almost depicts the movements of a living organism. +

+

To contribute, see github.com/googlefonts/zen-loop

+

Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts

In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles – from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project.

diff --git a/ofl/zenmarugothic/article/ARTICLE.en_us.html b/ofl/zenmarugothic/article/ARTICLE.en_us.html index 90cd4692d9..a6bb8f2ef9 100644 --- a/ofl/zenmarugothic/article/ARTICLE.en_us.html +++ b/ofl/zenmarugothic/article/ARTICLE.en_us.html @@ -1,3 +1,17 @@ +

+ Zen Maru Gothic is a rounded san serif family that gives a soft and natural impression due to the deep rounds in the corners. Because of this unique soft impression the thin weight is also easy to use in any scenes. Cute and fashionable, soft and easy + for any communications. +

+

+ To contribute to the project, visit https://github.com/googlefonts/zen-marugothic +

+

+ Zen Maru Gothicは、角の深い丸みによってソフトでナチュラルな印象を与える丸ゴシック体です。この特有のソフトな印象により、細いウエイトはどのようなシーンにも似合います。キュートでオシャレなこのフォントは、様々な場面で柔らかくふんわりとしたコミュニケーションに活用できます。 +

+

+ このプロジェクトに参加するには、こちらのリンクへ https://github.com/googlefonts/zen-marugothic +

+

Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts

In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles – from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project.

diff --git a/ofl/zenoldmincho/article/ARTICLE.en_us.html b/ofl/zenoldmincho/article/ARTICLE.en_us.html index 90cd4692d9..72e8779789 100644 --- a/ofl/zenoldmincho/article/ARTICLE.en_us.html +++ b/ofl/zenoldmincho/article/ARTICLE.en_us.html @@ -1,3 +1,18 @@ +

+ Zen Old Mincho is a Japanese mincho (serif) typeface with a classic design. This font family started with the regular (400) weight, and bold and black weights were added due to huge demand. The wide range of weights means while the design is intended + for text usage, it also works well in large sizes. +

+

+ To contribute to the project, visit github.com/googlefonts/zen-oldmincho +

+

+ Zen Old Mincho はベーシックな本文用の日本語明朝体ファミリーです このフォントファミリーには、はじめは「Regular」の太さしかありませんでしたが、多くの要望にお応えして、他のウェイトも追加しました。使える太さの範囲が広いため、本文用だけでなく、その他さ まざまな場面やメディアでご利用いただけます。 +

+

+ このプロジェクトに参加して貢献したい方は、次の URL をご参照ください。 + github.com/googlefonts/zen-oldmincho +

+

Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts

In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles – from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project.

diff --git a/ofl/zentokyozoo/article/ARTICLE.en_us.html b/ofl/zentokyozoo/article/ARTICLE.en_us.html index 90cd4692d9..34e0c3b6a5 100644 --- a/ofl/zentokyozoo/article/ARTICLE.en_us.html +++ b/ofl/zentokyozoo/article/ARTICLE.en_us.html @@ -1,3 +1,10 @@ +

Zen Loop Family is one of three Latin fonts designed by Yoshimichi Ohira, as part of the Zen Fonts collection.

+

+ Tokyo Zoo was originally designed for an animal exhibition. + The stripes suggest zoo cages but overall it’s a fun and stylish design. +

+

To contribute, see github.com/googlefonts/zen-tokyo-zoo.

+

Say Hello to our big new Japanese collection with Zen Fonts: Learn about the complex beauty of Japanese fonts

In 2019, Google Fonts started an ambitious project to expand its font library with a variety of typeface designs for Japanese. At that point Google Fonts had fewer than 10 Japanese families, most of which were basic Mincho (serif) and gothic (sans) designs. Since then the collection of Japanese fonts within the library has grown, now with 38 font families from 18 designers, in a variety of styles – from formal text types to fun display fonts. All these Japanese fonts are now live on Google Fonts for anyone to test out and use in any project.